GUITAR MASTER CLASS Technical Exercises by Famous Guitarists and Teachers Andres Segovia • George Sakellariou • Michael Lorimer Liona B o y d • Carlos Barbosa-Lima • Miguel A b l o n i z Louis Gehring • Philip Rosheger • John Duarte A l i c e A r t z t • Vincenzo Macaluso • Christopher Parkening Charles Postlewate • Lee Ryan • Clare Callahan David Grimes • Peter Segal • Ronald Pureed Christopher Berg • Christopher Amelotte • Ronald 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-one of the world'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 detail of guitar performance. The concept of breaking problems into small, isolated units is an important "secret" to the control of the instrument. Also, because of this concentration on a particular problem, many of the exercises appear simple. This is a deception, however. Every exercise in this book, if it is played accurately and cleanly, requires a tremendous amount of skill and dexterity. This book does not discuss basic guitar technique or terminology (sitting position, 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. I extend my sincere thanks to the guitarists who contributed to this volume. Their cooperation is in the highest spirit of professionalism and of concern for students of the instrument. Ronald J. Sherrod
To Chris and Lonna
Library of Congress Catalogue Card No. 80 53407
© C o p y r i g h t 1 980 by Belwin-Mills Publishing Corp International Copyright Secured
Made m U S A
Melville. N Y 11 747 All Rights Reserved
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CONTENTS Page Introduction
3
Andrés Segovia
°
George Sakellariou
^
Michael Lorimer Liona Boyd Carlos Barbosa-Lima
^4
Miguel Ablóniz Louis 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
^
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-> 4 7
5
INTRODUCTION Technical exercises should never be viewed without a purpose or without constantly placing emphasis on musical quality. It is, in fact, difficult to separate musical expression from technique since "technique" 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 obvious technical elements such as vibrato, apoyando, tirando, ligados, pizzicato, tambora, tremolo, etc., but includes the realms of music such as timbre, dynamics, separating a melody from a bass line, emphasizing the top note of a chord, emphasizing the bottom note 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 is especially valuable in the formative years of guitar study. By progressing through a daily routine of technical exercises the hands are adequately warmed-up and stretched. The physical aspects of guitar playing - strength, endurance, control, flexibility, and security - are systematically approached.(Read the related comments by Alice Artzt and Peter Segal, pp. 23 and 40.) Likewise the mental attributes of good guitar playing and musicianship are developed. These include confidence, patience, and freedom — freedom to concentrate on musical results rather than technical; and 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. A n 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 outline of activities is suggested as a daily procedure. It is not intended that all of the exercises be played in their entirety each day, but at least one exercise from each group should be selected. Also, it should be stated that the catagorization of these exercises is by the editor. Other possibilities exist. I.
II
S C A L E S A N D ARPEGGIOS Liona Boyd John Duarte (part 1) David Grimes Charles Postlewate (exercises 2, 3 & 6) Peter Segal Andres Segovia Ronald Sherrod
FINGER PLACEMENT Alice Artzt Christopher Berg Liona Boyd Clare Callahan John Duarte (part 2) George Sakellariou Ronald Sherrod
III. C O O R D I N A T I O N O F H A N D S , S T R E T C H , ENDURANCE Alice Artzt Christopher Berg Clare Callahan Vincenzo Macaluso
III C O O R D I N A T I O N O F H A N D S , S T R E T C H , E N D U R A N C E (Cont'd) Philip Rosheger Lee Ryan George Sakellariou Andrés Segovia IV L I G A D O E X E R C I S E S Miguel Abldniz Vincenzo Macaluso (procedures a & c) Christopher Parkening Charles Postlewate (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 Andrés Segovia
6
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ANDRES SEGOVIA The most renowned guitarist of the century. The standard by which ail guitar technique and performance 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 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.
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As this exercise is refined, a large 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. Also, the control of crescendo and decrescendo is extremely important. As Segovia plays this exercise, his right hand moves toward the bridge as the volume increases and away from the bridge as the volume decreases. This change in timbre compliments and reinforces the change in dynamics.
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GEORGE SAKELLARIOU Graduate of the Hellenikon Conservatory, Athens, Greece. Has performed extensively throughout Europe, South America, the United States and Canada. Currently 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.
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The first exercise consists of movement down and up the fingerboard as octaves are played.
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The second exercise consists of the rapid alternation between notes. The 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, practice each combination two 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 © @ ® © © creates a different "feel" to which the guitarist must adjust.
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Similarly, move the exercise up the fingerboard. The guitarist must become accustomed to the change in string tension as the move is made to the higher positions. E L 2722
MICHAEL LORIMER Internationally famous virtuoso. Mr. Lorimer is known throughout the world for his artistic performance on the traditional Spanish guitar, his accurate and idiomatic transcriptions as well as for his premieres of new works. His playing of a second instrument, the Baroque guitar, has spearheaded the revival of the historic instrument. Currently Michael Lorimer is on the faculty of the San Francisco Conservatory of Music.
One engaging feature of Michael Lorimer's playing is his expansive use of tone colors. He contributes 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:
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free stroke
free stroke
rest stroke
rest stroke
free stroke
free stroke
rest stroke
rest stroke
free stroke with nail
free stroke with flesh
free stroke with nail
free stroke with flesh
rest stroke with nail
rest stroke with flesh
rest stroke with nail
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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. Learning all the combinations will greatly develop the potential range of color in your playing and increase the fluency of your right-hand technique. Y o u can learn the first six combinations by practicing this series of chromatic octaves: a m i / m a m i a a i m t a r n m i m i a m a a i a
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Play this exercise fortissimo, very rhythmically and at a moderate tempo. Practice very slowly until you can play each octave with a beautiful tone (fortissimo), in perfect rhythm with a relaxed hand. Adjust your position and stroke until you get a technique that works. Be guided by the feeling of your right-hand, arm and shoulder, not by guitar playing theory - it may be helpful to forget any ideas of "correct right-hand position" you have. You 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); pp. 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 120 studies for the right hand by Mauro 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). Tremolo studies also provide opportunities 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 passages 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
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LIONA BOYD Born in England, but a resident of Canada, Liona Boyd's credits include tours of North, Central, and South America, Europe, and New Zealand; appearances on several television shows including Mike Douglas and the prestigious "Today Show;" and five record albums. The Canadian Music Industry awarded her a Juno Award as "Best Instrumentalist of the Year;" several international composers have dedicated works to her; and she has been invited to play for such distinguished persons as the Prime Minister of Canada, Her Majesty Queen Elizabeth II, the Prime Minister of England and the Chancellor of Germany.
Liona Boyd gives two valuable exercises. Although she identifies one as a left hand and one as a right hand exercise, each is an excellent exercise for the coordination of the two hands. FOR THE LEFT HAND Here is a finger pattern I use. It is written on the first string but should be used on all the strings. 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.
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FOR THE RIGHT HAND Most guitarists find they have problems with their right hand nails wearing down after practicing an hour or two of scales and technical exercises. Many right hand patterns can be practiced using only the three upper strings, thus saving the nails from the wound strings that wear them down. Here is a partial scale that I use for many right hand exercises.
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The preceding scale may be broken into rhythm patterns using various combinations o f the right hand fingers. Rhythm Pattern A i
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Right Hand Combinations (practice rest stroke and free stroke) 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 For 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_
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CARLOS BARBOSA-LIMA Internationally famous guitarist and recording artist. A native of Sao Paulo, Brazil, Carlos Barbosa-Lima gave his concert debut when he was twelve. Since his first U.S. tour in 1967 he has been catapulted to international attention; throughout the world his concerts continually receive the highest critical acclaim. He was praised by Andrés Segovia as "gifted by the goddess of music. " Lately, in addition to his recitals, he has been guest soloist with major American orchestras and has performed in prestigious music festivals in the Americas and Europe.
The following articulation exercise by Carlos Barbosa-Lima requires a great amount of technical and psychological control. If practiced conscientiously, it is tremendously helpful in providing 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 articulation 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 finally played on the guitar, Mr. Barbosa-Lima suggests that both hands become aware of the articulation and work in combination to produce it. 1. Play the following melodies using the string and fingering indicated: ©
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2. Repeat the above melodies using different strings and positions. For example:
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MIGUEL ABLONIZ World renowned 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 idioms, as well as many articles and books relating to guitar technique and performance.
From his text "Essential Exercises For 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. The left hand fingering remains unchanged regardless of the string used. As to its key, it is in: A minor when played on the 1st string G minor when played on the 4th string E minor when played on the 2nd string D minor when played on the 5th 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
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alternating all the time two fingers.
The left hand, when practicing on 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 (excluding, obviously, the last note of measure 8, which is produced with an open string). Additionally, depress simultaneously the group of underlined notes.
As 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 the two systems. The "apoyando" principle 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 lower-in-sound string whereas the left hand fingers, after playing a descending ligado, lean on the adjacent higher-in-sound string. After all, a descending ligado is produced by temporarily substituting a left hand finger for a right hand one. One of the many advantages of being able to produce the descending ligado on the same string by means of the apoyando principle, a technical process I have thought of using also for the left hand (and I would like to point out that I have never seen it suggested in any of the many "guitar methods" I had occasion to read) is the fact that they thus become as loud as the ascending ligados. . . something which would practically be impossible to achieve if one avoids touching the neighboring 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 for them to do so: for this reason, the manner of playing apoyando (with either hand) will always be left to the discretion of the guitarist. 'Reprinted with the kind permission of Miguel Abldniz and the Berben Publishing Co.
LOUIS GEHRING Guitar studies at Loyola University and Southern Methodist University, and at the Estudio de Arte Guitarristico in Mexico City under the tutelage of Manuel López Ramos. Mr. Gehring is currently Instructor of Guitar at the University of North Carolina at Greensboro. As a full-time member of the artist faculty he has performed extensively in the southern and southeastern United States in solo, chamber, and concerto concerts, as well 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 described below is a learning structure which can encompass the myriad of variables in classic guitar playing. It is a method which requires discipline on the part of the player, but the result of being able to learn a work with great accuracy (and a minimum of unlearning mistakes, and re-learning corrections) in a surprisingly short amount of time will far outweigh the regimentation needed." Step 1: A N A L Y S I S Divide the piece first into main sections, and then subdivide these sections into phrases. The phrase is the basic musical and expressive unit of any piece, and therefore should also be used as the basic learning unit. Step 2: F I N G E R I N G Mark all of the fingerings for both hands. Since left hand fingering is included in most editions (but should, nonetheless, be carefully examined for possible improvements), this will entail more work on right hand fingering. 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 an accurate, consistent performance. Step 3: P R A C T I C E Begin practice, starting with the first phrase only, carefully avoiding any mistakes. Study should begin by using the metronome set at approximately one half the future performance tempo (this initial speed will depend greatly on the difficulty of the composition). When playing 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 performance tempo, he should go on to the next phrase in the same manner, and so on. After a section has been learned with this method, the whole section should be practiced with three metronome speeds: slow, medium, and fast (the performance tempo). This is the way the section will be studied from now on in order to maintain and perfect it. Step 4: M E M O R I Z A T I O N Using the above method, memorization can quickly take place, again using this phrase by phrase approach. Step 5: P R A C T I C E P H R A S E S O U T O F C O N T E X T After the entire work has been learned thoroughly and memorized, phrases should be practiced out of the context of the piece (this is especially useful for compositions that do not lend themselves to easy division into phrases, e.g., fugal writing). Practice 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 confusion under the pressure of public performance. Step 6: A D D I T I O N A L TECHNIQUES Practice without looking at the fingerboard. Study away from the instrument by mentally recalling all movements of the hands (left hand positions, bar chords, fingerings; and right hand strokes, fingerings, string changes). E L 2722
PHILIP ROSHEGER First American to win the prestigious First Prize in the international guitar competition held annually in Santiago De Compostela, Spain. Mr. Rosheger has toured throughout Spain, Canada, and the United States and has made appearances on American and Canadian radio and television networks (CBS and CBC). He is currently a member of the faculty of the San Francisco Conservatory of Music.
Philip Rosheger has an incredible eight-fret reach (the ability to hold, simultaneously, the first fret of the 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.
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Another variant of the previous exercise is to begin with the fingers placed at intervals of perfect fifths. As above, employ the principle of moving one finger at a time.
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JOHN DUARTE World renowned composer for and teacher of the guitar, music scholar and critic. Highly respected and in constant demand for lectures and workshops throughout the world, John Duarte works untiringly for the betterment of music and the guitar. Articles by Mr. Duarte have appeared in most guitar 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 Guitarist's Hands" (Duarte & Zea, Universal Edition 26926). As supplementary exercises in placing the left-hand 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. 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.
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e) Repeat the above using strings
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3. The following will help to develop legato playing when a shift of left hand position is involved. Two given notes are to be played in different positions with the same finger. As illustrated in example 3a, play the first note thinking of its duration as being an eighth-note (the first half of a quarter-note beat) 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 and moving (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 will prepare for the making of shifts as rapidly as possible, without cutting short the first note. It should be repeated using different fingers, strings and positions; there should be no portamento caused by failure to lift the finger(s) clear of the strings before shifting position.
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ALICE ARTZT Internationally acclaimed virtuoso. Ms. Artzt's concert tours have taken her not only throughout Europe and the Americas many times, but also to Africa, the Near East, much of Asia, Australia, Japan and the Far East. Her solo programs include a wide range of styles from early lute music which she studies from the original tablatures, to nineteenth century music for which she has used first edition sources and which she has performed and 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 in the New York area when not on tour.
Alice Artzt has recently completed a book entitled The Art of Practicing.* From this comprehensive text she 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 important than simply how fast and in which ways one moves one's fingers about, the aim of any technical teaching I do has been to emphasize the need for efficiency and precision. One must concentrate from the very beginning on getting every detail prefect when practicing, so that any technical considerations become automatic, as only in this way is one freed to think only of the musical expression when one is performing. This can be accomplished by reducing any problems one has to their simplest possible form, by analyzing the workings of one's own particular set of fingers and figuring out exactly why a given finger is reluctant to perform a certain task, or does so too slowly. Then one must either revise one's position in some way i f this is the cause of the problem, or 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 the fingers of the left hand exactly where on the fingerboard each string and fret is located and how each finger may reach them all with the least expenditure of time and effort. One particular 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 below. 24 Example A Q _ CD-
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E L 2722
This may then be done with all combinations of fingers: 13 24 31 42 41 14 32 23 12 34 21 43 24, 13,42,31,32, 23,41, 14, 34, 12,43,21 14 41 32 23 12 21 43 34 13 31 42 24 32, 23, 14,41,43,34, 12,21,42,24, 13,31 and may be expanded to cover stretches over several strings as in examples C, D, E , and F .
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Do not move the arm and wrist any more than absolutely necessary, and keep the fingers as close to the fingerboard as possible, for this will make it easier for the fingers to be both more accurate and more efficient in playing any difficult passages one may encounter. (This idea is itself derived from other exercise ideas, can be expanded almost infinitely along the lines outlined in the book, and can itself give birth to other ideas. The only 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 be done very slowly, very precisely, and very perfectly. If no improvement is sensed after two or, at most, three days of doing an exercise, then either one is not concentrating properly on doing it exactly enough, or one hasn't correctly analyzed the cause of 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 concert, orchestra, and recording artist exploring the versatility and greater dynamic range afforded by the 10-string guitar.
Some Tarrega.* sight the they will
of the most demanding, yet rewarding, technical exercises are those by the famous guitarist Francisco Vincenzo Macaluso especially recommends the following Tarrega exercises. He states that on first exercises may seem to be overly easy, but i f each is played continuously for two or three minutes 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
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CHRISTOPHER
PARKENING
Internationally famous virtuoso. Christopher Parkening's achievements include six best-selling albums for Angel Records, engagements by every major recital series, and performances as guest soloist with every major symphony orchestra in the United States. Mr. Parkening 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. Simile (slurs continue) ey ft
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CHARLES POSTLEWA TE Has performed solo concerts 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 presently an Assistant Professor of Guitar at the University of Texas at Arlington.
Charles Postlewate states that daily exercises should be used for two reasons: 1) to keep the hands in shape for doing anything required, and 2) to prepare oneself mentally and physically for actual concert repertoire. He continues, " A s 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 performed to benefit something in present or future repertoire and not just something with which to begin daily practice sessions." "The following set of 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 first problem in this piece is the fluid movement from chord to chord in the left hand. The chords should be practiced in block form (Example A ) until they are connected smoothly from beginning to end. Replace the left hand Iigados (measures 24-25 in the original) and harmonics (measures 32-33) with the E minor chord of the first measure to complete this chord study without interruption. Example A -e— _QU
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EXERCISES 2 & 3 The 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 problem which will slow down the overall pattern until it becomes perfectly coordinated. Example C shows how to practice this pattern over all six strings of the chords learned in exercise 1. The first and fourth beats of each measure present the problem of moving the right hand up and down the strings with accuracy. A good exercise to sharpen this movement is presented as exercise 3 (Example D) and again should be practiced through the chords of the entire piece from exercise 1. Two sets of fingerings are shown since many guitarists prefer p-m-p-i on the first beat instead of the originally printed p-i-p-i. Example B
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31
EXERCISES 4 & 5 The most feared part of this etude is the ligados of measures 24-25. Example E shows these two measures. (As done by most guitarists, the G on the fourth beat has been altered an octave from the original.) The ligados can be made into an exercise by practicing the bracketed E minor triad both descending and ascending 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 in E minor. It also gives the fingers good ligado training over the entire scope of the fingerboard. The two other left hand fingerings of 2-3 and 3-4 should also be practiced on this exercise to make the standard 1-2 Fingering even more comfortable.
Exercise 5 (Example G) is a variation to strengthen exercise 4 and develop both ascending and descending ligados. Again, practice with 1-2, 2-3, and 3-4. The more that exercises 4 & 5 are practiced and the easier they become, the more confident you will become of that once dreaded ligado passage. Example G 12
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EXERCISE 6 The harmonics of measures 32-33 (Example H) require a quick switch from the original to a new right hand arpeggio pattern. To make this switch musical, and with no hesitation, 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 placing concentration upon evenness of tone between Fingers, and evenness of rhythm between tones. Metronome speeds should be raised to a new speed when the old one feels comfortable. Raising and lowering exercise speeds 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 and J = 176. A good student should start the above exercises at half of these speeds or slower. As these exercises become easier, the amount of daily time spent on them will become progressively less. Y o u can then look to other pieces in your repertoire and develop similar exercises. Your practice time will be more meaningful and efFicient, and you will be on the path to becoming your own teacher. E L 2722
LEE RYAN Soloist, teacher, writer. Holds an M.A. in guitar performance from San Diego State University. Studied in master classes in Spain and the United States. Lee Ryan is currently on the music faculty at San Diego State University where he initiated the guitar program at that school.
Lee Ryan gives some valuable information and exercises for relaxing 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 to relax, if the player 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 constantly take advantage of those spaces - more or less consciously - 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 releases the tension on the hands and fingers whenever he has even a tiny space; and, at any given moment, he is completely relaxing those fingers which are not in use. He uses exactly the energy needed to play well - no more, no less. He does more with less. For 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 playing and then relaxing very quickly - like the fast on-off operation of a computer. The faster and 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 of playing. This includes playing simple exercises, parts of pieces, or entire complex pieces. PLAY-RELAX FOR THE RIGHT HAND The following simple exercise will develop right hand relaxation when using rest or free strokes:
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you time to become aware of the chance to really relax. The finger that is to play next is placed on the string in a relaxed manner immediately after the previous finger has finished. It is good to cut off the sound completely and feel the silence between the notes.
When you can relax very quickly and thoroughly in the above exercise increase the tempo, but don't play the exercise so fast that you can no longer feel the relaxation. When you can do the exercise quickly, drop the quarter rest and do it as follows, maintaining the relaxation:
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Gradually increase the speed until it becomes comfortable to play the above exercise very quickly. As it makes you aware of how to relax your right hand, carry this awareness into the practice of your pieces. A i m for those quick relaxations after every stroke. The exercise will lead to a good legato in the right hand if you gradually lengthen the note values 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 and then the following:
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Do the exercise with the metronome as fast as you can with comfort and relax completely during the rests. When you can do the above at high speed with ease, add on another set of sixteenths: m i m i m tm fe
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PLAY-RELAX FOR THE LEFT HAND When the play-relax response is well-developed in right hand finger alternation, play left and right hands together using the same approach. For example, you can play a two octave C scale as follows:
ca.J=72 (No opcir strings)
It is crucial that the left and right hand fingers relax completely between the notes. The pressure on the left hand fingers should be released immediately 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 the notes. Later, leave out the quarter rest and play a ^ on each beat. Lengthen the note values for more legato. Gradually you will be able to relax quickly after each note even at a fast tempo. Still later you can play the scale in fast sixteenth groups as you did with the right hand alone.
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and add on additional groups until you have the whole scale.
If you practice the above staccato exercise carefully and apply it to your pieces you will notice a great increase in ease of 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
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This method produces great relaxation and can be used to practice all types of slur passages. After such play-relax practice the continuous playing of slurs is much easier. (Try it on Villa-Lobos Etude No. 10.)
A further way of applying the play-relax method is in the performance of block chord sequences such as in Study No. 9 in Segovia's edition of Twenty Studies by Fernando Sor (Marks Music). Sor has written a rest between each chord. Take advantage of those rests by relaxing the left hand as completely as possible during that time. You can practice any piece, or part of a piece, that has block chords in the same manner as in the Sor study above. Even if the piece is ultimately supposed to be very legato, cut the note values short and put at 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 the play-relax approach. Try using the approach in other ways, such as in arpeggios and tremolo. It will make you aware of a new world of "better playing with less energy." Additionally, I would state that the above is just one of many techniques and concepts for teaching the guitar that I have derived from my study of yoga and meditation.
CLARE CALLAHAN 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) and the author of Jacques Gallot's Pieces de Luth (1674). A teacher Iperformer on lute and guitar, she has given workshops and recitals in the United States and England and performed on NET and NPR. She is currently serving a second term on the Executive Board of the American String Teachers Association Guitar Division.
Clare Callahan contributes three exercises to develop fluency in moving from contracted to natural positions. Each exercise deals respectively with moving from these positions while 1) changing strings. 2) using the same strings, and 3) playing a five-note scale in a given position. C H A N G I N G STRINGS v b
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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 to a natural position with the first finger only on the second fret and the other fingers on successive frets. The first finger of the left hand stays touching " a * " while "giving" elastically to allow the other fingers to shape the new position and put it on the fingerboard. A slight rotation occurs in the 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 new position before striking so that the articulation between chords is clear. S A M E STRINGS
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A seventh chord descends to another seventh chord with an unresolved 4-3 suspension. Physically the fourth finger stays touching " 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 wrist and forearm are essentially still during this motion (but not frozen). They move sympathetically if asked to do so. Again the right hand fingers dampen the strings of the new position before striking so that the articulation between chords is clear. 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 GRIMES Extensive performances throughout the United States and Mexico. A highly respected teacher and coach, Mr. Grimes has either taught or been asked to teach at virtually every major college and university in Southern California. He now 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 passages is to practice the scales in a wide variety of rhythmic patterns. "This promotes closer attention and builds 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: Several of the following patterns will be confusing at first, and will tend to transpose into more familiar forms. Pattern No. 9, for example, 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 evenly. The repetition(s) will have the metric stress shifted to different scale degrees, which further enhances the value in promoting flexibility. The rhythmic formulas with unequal notes must always be played crisply: the benefits increase as the rhythms are sharpened as: , J. 4 becomes J.. 4 and as J 44 becomes J. 44
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These patterns are clearly not exhaustive of all possibilities. They can be extended to include combinations of forms listed here, as well as groupings containing more than four notes. The principles embodied here are of great value in solving a large number of technical problems. R h y t t a i c alterations are extremely useful when applied to other exercises (arpeggios, ligados) or to passages from the eer.en: repertoire. E L 2722
PETER SEGAL Has performed extensively, developing the guitar as a solo instrument and as a chamber instrument through partnerships that have included string quartet, harpsichord, marimba, actor, and flute. When not performing, Mr. 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 practicing is helpful unless the guitarist works alertly. If he or she continues practicing the same exercises for a period of months or years, a kind of aural fatigue becomes a likely affliction. It is quite easy to practice 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 practicing with the ears. Learn to listen 1) objectively (Am 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 variations of exercises to avoid aural lethargy. One example I find particularly useful follows. It is a scale exercise which differs from the popular Segovia scales in that it is short and is meant to focus on lightness. The guitarist should practice rhythmically, listening for the final note as though the entire scales were an ornament to the final note. After achieving this, try to extend the lightness and feeling of direction over a longer period. Again, the extended scale should be played as one unit, with one climax — that final note. (D_@ 1 ® 1 T?
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Rhythmic accentuation is ever-important. Practice subtle differences in pulse, such as the following:
Also, use the above patterns on scales using strings © © © both free and rest strokes.
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RONALD
PURCELL
Professor of Music at California State University, Northridge. Ron Pureed is acting president of the American Guitar Society and has been president of the Guitar Foundation of America since it was founded in 1973. He is a frequent lecturer, participant, performer, and organizer of national and international workshops, conventions, and meetings 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, flexibility, stability, security and most of all concentration to attain a goal - the goal of producing music." Professor Purcell contributes 1) an outline describing those basic areas which are the foundation of developing technique, 2) a five-step procedure for learning new repertoire, and 3) a comment on maintaining 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 by Emilio Pujol. b. ligado (slur) studies - ascending and descending. Examples: Segovia Slur Studies. The Dionisio Aguado Guitar Method. Volumes 2 and 3 of Escuela Razonada De La Guitarra by Emilio Pujol. c. performance of the above with rhythmic variations. 2. Arpeggios - basic and complicated patterns performed in both fixed and moving positions of the left hand (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.
L E A R N I N G NEW R E P E R T O I R E I. Read through the music slowly without the guitar. a. Conduct and sing, hum or handclap rhythm (sometimes referred to as eurythmics). 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. Perform at tempo from memory. a. Review dynamics and style of work. b. Finalize fingering.
MAINTAINING LEARNED REPERTOIRE Maintaining learned repertoire is essentially the same as learning new repertoire (above), but less time is required except in those areas where changes have been made. It is important to continually read through the music slowly since unconscious changes do occur over a period of time. There are numerous ways to use the above information. For example, any of the old or new repertoire can overlap into "Fundamental Technical Studies" by extracting and making a study of 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 instructions to read the music without the guitar is an important concept. Eurythmics gives a musically secure foundation upon which to learn the composition. Also, a great deal of time is saved by the rehearsal of difficult rhythms, the discovery of poor fingering, etc.. The early recognition and reconciliation 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 repertoire each piece can be covered sufficiently in a week's time using the described procedure. If there are more than ten pieces, the student must pace himself carefully during that period, giving the greatest attention to the less secure portions of each piece. Repertoire is an investment in time (potentially, money in the bank), and will yield a return in artistic recognition, musical satisfaction and eventually support for the profession when the time for performance arrives. Additionally, I advise my students to spend at least 1 0 - 2 0 minutes each day reading new material. Remember, your reading level should be somewhat near your technical ability. For the teacher who is preparing 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 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 or piece? The degree to which the teacher is prepared to answer these questions demonstrates the degree of 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 Aaron Shearer. First guitarist to receive the Master of Music degree from Peabody. First guitarist to win the MTNA National Guitar Competition (1977). Concerts and concerto appearances throughout the United States. Currently is Assistant Professor of Music at the University of South Carolina.
Christopher Berg states that although many guitarists are aware of the necessity of moving smoothly and accurately from one string to another, rafely has string crossing been the sole focus of a technical exercise. He points 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 comfortable right hand position on any given string, try to keep this same position for each string. This is accomplished by the basic technique of moving the forearm from the elbow. Strive to maintain the same wrist and fingerjoint relationship as when playing on a single string. The exercises below should be studied with both free stroke and rest stroke. PRELIMINARY EXERCISES On a single string practice the right hand patterns of i-m. m-a, i-m-a, a-m-i, i-m-a-m, i-a-m-a, and a-i-m-i. The cultivation of these patterns cover every possible string crossing situation. (Although other right hand patterns can be devised, practicing them would be superfluous. For example, the finger movements for m-a-i are the same as for i-m-a. The difference is simply starting the pattern with a different finger.) * 4
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Use rhythm patterns of triplets and sixteenth notes. This will require Dlaying the triplets with the right hand patterns that use an even number of strokes (i-m, m-a, i-m-a-m, i-a-m-a, and a-i-m-i), and will require playing the 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.
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CROSSING STRINGS Now practice crossing all six strings ascending and descending with the patterns studied above. It may be 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. Remember to make a definite movement from the elbow. EL 2722
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TRANSVERSE SCALES When the above can be done as a matter of habit, practice transverse scales (scales 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 below) but longer scales may be utilized if desired. Make certain that the groups of 3 or 4 are clearly discernible.
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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, teacher, and co-author of the Christopher Parkening Guitar Method. A graduate of the prestigious University Of Southern California, Mr. Amelotte holds the first degree in classical guitar performance awarded in that school's history. He has traveled extensively throughout the United States as soloist and as representative for the guitar importer Antigua Casa Sherry-Brener of Chicago. Currently Mr. Amelotte resides in San Diego, California where he is active as owner of the International Guitar Shoppe.
Christopher Amelotte s close association with many famous guitarists has given him keen insights into numerous 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 performance-time draws near, but should become a part of regular practice habit and attitude. Mr. Amelotte states:
There is a common visitor in the life of most guitarists shortly before performance time. This visitor is hardly • welcome one, as it seems his one goal is their distinction. I speak, of course, of nervousness. My advice is this: BE P R E P A R E D F O R HIS A R R I V A L ! Unfortunately, merely hoping for the absence of nervousness does not provide an adequate defense. Also, some guitarists feel that being nervous is a flaw in their character and are therefore reluctant to recognize their 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. B. Work out every detail of the music. Leave nothing to the imagination. C. If you are making mistakes in practice expect to make them when performing. Don't be surprised.
II. L E A R N TO DROP T H E RIGHT H A N D 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 fingers to the u . u p i could be disastrous. However, if you let the weight of the right hand "drop" the fingers to the 1 1 i Jftr location of the strings will be more sure.
III. INDUCE P R E S S U R E A. Simulate the physical conditions of performing. What do you feel like when you are nervous? D o shoulders tighten? Then tighten your shoulders. Does your breathing become shallow? Simulate that Do your fingers become stiff? Make your hands tense. Now, what do you do to overcome these Relax your shoulders. Breathe deeply. Etc., etc. E L 2722
B. Simulate environmental performance conditions as much as possible. This includes walking on and off stage, acknowledgement of the audience, quiet surroundings, even a desk lamp in a dark room if you are going to be performing in a spotlight. C. Record your simulated performances. This will both increase pressure as well as provide you with an indication as to how you sound to the ears of the listeners. D. Test your performance on friends and relatives. The shock of performance pressure can be cushioned or eliminated by conditioning yourself through pressure-induced practice performances.
IV. PIECE SELECTION 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 you 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 Place yourself in a relaxed state of mind. Naturally tranquilize yourself to the point of yawning. Caution: Avoid stimulants, as they increase nervousness, and depressants, as they tend to dull the senses.
II. E S T A B L I S H R E F E R E N C E A. Have the grooves of the left-hand fingers established before beginning. B. Get the feel of the right hand on the strings. Drop the right hand; do not lower it. Put the weight of the hand into the strings.
III. M A I N T A I N C O N C E N T R A T I O N 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 direct correlation between frequency of exposure and performance comfort. Nervousness is real but it can be encountered and conquered. Preparation, security and experience breeds confidence. And it is through confidence that nervousness is dispelled, allowing us to represent our true ability on the guitar.
RONALD SHERROD Guitar soloist, teacher, and author. Music degrees from UCLA and California State University, San Diego. Also, guitar studies at the San Francisco Conservatory of Music and in Europe. Doctoral studies at the University Of Arizona, Tucson. Currently on the faculty of Grossmont College, San Diego, California.
I offer two groups of exercises to develop fundamental technique. The first is primarily for the left hand, the second primarily for the right, but both are valuable for legato playing and coordination between the hands. FOR THE LEFT HAND Many guitarists have difficulty in placing the left hand fingers exactly on the tips. This causes problems if adjacent strings are intended to sound simultaneously. The following exercises emphasize basic hand position and secure finger placement, and insure that only the tip of each finger is used. Strings ®
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FOR THE RIGHT HAND Playing the E scale in thirds, using only the third and fourth strings, allows many right hand formulas to be practiced while striving to move smoothly along the fingerboard. First, practice the following: (Notice that the fingering is different when the scale is descending.)
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Then, add the open second and open sixth strings. (The left hand always plays the scale as practiced above.)
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Continue this left hand pattern with other right hand combinations.
