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Apre Ap rend nde e a: • Incrementar la fuerza y la consistencia mientras tocas • Practicar calentamientos, escalas, arpegios y acordes • Tocar piezas y canciones completas Descárgate los archivos de audio en nuestra web
Mark Phillips Guitarrista, arreglista y escritor
Jon Chappell Guitarrista y escritor
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Edición publicada mediante acuerdo con Wiley Publishing, Inc. ...For Dummies, el señor Dummy y los logos de Wiley Publishing, Inc. son marcas registradas utilizadas con licencia exclusiva de Wiley Publishing, Inc. Título original: Guitar Exercises for Dummies © Mark Phillips y Jon Chappell, 2009 © de la traducción Pilar Recuero, 2016 Imagen de cubierta: © Shutterstock © Centro Libros PAPF, SLU, 2016 Grupo Planeta Avda. Diagonal, 662-664 08034 – Barcelona
No se permite la reproducción total o parcial de este libro, ni su incorporación a un sistema informático, ni su transmisión en cualquier forma o por cualquier medio, sea éste electrónico, mecánico, por fotocopia, por grabación u otros métodos, sin el permiso previo y por escrito del editor. La infracción de los derechos mencionados puede ser constitutiva de delito contra la propiedad intelectual (Art. 270 y siguientes del Código Penal). Diríjase a CEDRO (Centro Español de Derechos Reprográcos) si necesita fotocopiar o escanear algún fragmento de esta obra. Puede contactar con CEDRO a través de la web www.conlicencia.com o por teléfono en el 91 702 19 70 / 93 272 04 47. ISBN: 978-84-329-0293-2 Depósito legal: B. 10.875-2016 Primera edición: junio de 2016 Preimpresión: Victor Igual, S.L. Impresión: Black Print Impreso en España - Printed in Spain www.dummies.es www.planetadelibros.com
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______________________________________________________ Sumario
Arpegio de séptima mayor con patrón 4 ....................................... 181 Arpegio de séptima mayor con patrón 5 ....................................... 182 Aplicación de los arpegios de séptima a algunas piezas famosas ....... 184 Ave María de Schubert...................................................... Schubert..................................................................... ............... 184 Pavana de Fauré ...................................................... ............................................................................... ......................... 186
Capítulo 12: Ejercitar la mano con progresiones de arpegios de séptima ................................................................... .............................................................................................. ........................... 189 Empleo de las progresiones de arpegios de séptima de dominante ....................................................... .......................................................................................... ................................... 190 Progresiones de arpegios de séptima de dominante con patrón 1 ........................................................ ................................................................................. ......................... 190 Progresiones de arpegios de séptima de dominante con patrón 2 ........................................................ ................................................................................. ......................... 191 Progresiones de arpegios de séptima de dominante con patrón 3 ........................................................ ................................................................................. ......................... 192 Progresiones de arpegios de séptima de dominante con patrón 4 ........................................................ ................................................................................. ......................... 192 Progresiones de arpegios de séptima de dominante con patrón 5 ......................................................... .................................................................................. ......................... 193 Ampliar la colección con progresiones de arpegios de séptima menor .......................................................... ................................................................................... ......................... 194 Progresiones Progresione s de arpegios de séptima menor con patrón 1 ........ 195 Progresiones Progresione s de arpegios de séptima menor con patrón 2 ........ 195 Progresiones Progresione s de arpegios de séptima menor con patrón 3 ........ 196 Progresiones Progresione s de arpegios de séptima menor con patrón 4 ........ 197 Progresiones Progresione s de arpegios de séptima menor con patrón 5 ........ 198 Practicar progresiones progresiones de arpegios arpegios de séptima mayor ........................ 199 Progresiones Progresione s de arpegios de séptima mayor con patrón 1 ........ 199 Progresiones Progresione s de arpegios de séptima mayor con patrón 2 ........ 200 Progresiones Progresione s de arpegios de séptima mayor con patrón 3 ........ 201 Progresiones Progresione s de arpegios de séptima mayor con patrón 4 ........ 201 Progresiones Progresione s de arpegios de séptima mayor con patrón 5 ........ 202 Interpretar piezas que contienen progresiones de arpegios de séptima ............................................................ ............................................................................................... ................................... 203 Sueño de amor de Liszt ..................................................... .................................................................... ............... 204 Ave María de Bach y Gounod Gounod ..................................................... .......................................................... ..... 205
Parte IV: Acordes y ejercicios adicionales ........................ ........................ 207 Capítulo 13: Ejercicios de acordes para ganar independencia en los dedos ............................................................................ ........................................................................................... ............... 209 Practicar patrones patrones de inversión .......................................................... ............................................................... ..... 210
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Parte I: Preparación para la práctica ________________________________ pie, por lo que es una buena idea levantarse de la silla un rato durante la práctica. RDA U E
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No obstante, hay una ligera diferencia entre sostener la guitarra sentado o de pie. A continuación, te damos unas normas generales: ✔
Tocar sentado: la mayoría de los guitarristas apoya la guitarra de pie la pierna derecha sujetándola con el brazo derecho, que cuelga sobre el frente del instrumento y permite que la mano derecha rasguee las cuerdas más o menos delante de la boca (o de las pastillas si se trata de una guitarra eléctrica). Asegúrate de que el brazo derecho puede balancearse desde el codo y estrecha la guitarra contra el cuerpo, pero sin que resulte incómodo. Si colocas c olocas la guitarra sobre la pierna izquierda, como hacen muchos guitarristas clásicos, quizá tengas que elevar el pie —apoyándolo en una base, un escabel o la funda rígida de la guitarra— para acercar sucientemente el mástil al centro del cuerpo. (Otra opción es utilizar una almohadilla que, apoyada en la pierna, eleva el instrumento.)
✔
Tocar de pie: en este caso, se utiliza una correa ajustable que se adapta a la estatura y las preferencias del músico. A algunas algunas personas les gusta tener la guitarra en alto (por encima de la correa) porque esta posición facilita la ejecución. Como esto no queda muy guay, muchos otros intérpretes preeren bajar la guitarra hasta una posición que no parezca tan friki. En algunos estilos, como el bluegrass, queda bien sostener la guitarra alta, pero los roqueros preeren llevarla bien abajo. En cualquier c ualquier caso, la posición que adoptes con la guitarra debe ser siempre, por supuesto, la que te haga sentir más cómodo, no la que esté de moda. Después de todo, ¿cuándo ha dictado la moda tu comodidad personal?
Tanto si practicas sentado como de pie, la clave está en ser coherente con el modo en el que sujetas la guitarra en una y otra postura. Si quieres una explicación más detallada sobre ello (con fotografías incluidas), echa un vistazo al libro Guitarra para Dummies .
Un repaso a la notación para guitarra En este libro empleamos varios métodos de notación para presentar los ejemplos y ejercicios musicales. Ten en cuenta que no es necesario leer bien música para orientarte con la notación; en realidad, no es necesario que sepas leer música, tan solo tienes que escuchar atentamente las pis www.dummies.es ies.es ). tas de audio que encontrarás en nuestra página web ( www.dumm Se puede llegar muy lejos de esta manera, aunque mejorarás si te familia-
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