TABLE OF CONTENTS. Author s Preface...4. Editor s Preface...5. Some Do s and Don t...6

Transcription

1 TABLE OF CONTENTS Author s Prefce Edtor s Prefce Some Do s nd Don t About the Hnds About the Body7 About Holdng the Gutr The Trngle8 The Left Hnd Fnger Plcement nd Accurcy Pressure nd Relese Pressure/Relese Exercse Fnger Exchnge Ascendng Slurs (Hmmer-ons) Descendng Slurs (Pull-offs) Descendng Slurs (Pull-offs) Fnger Indeendence # # # - Oosng Moton7 # - Horzontl Chrcter Bulders8 # - Odr s Fvorte Drll # - The Sder The Brre Weght vs Pressure Beng Selectve Summng It All U Qudrvl Qundry by Andrew York A Four-Voce Study for the Left Hnd Fnfre A Slur Study by Brn Hed My The Notes Be Wth You, A Slur Study by Evn Hrschelmn9 st Movement nd Movement Guln s Left Hnd Etudes, O 9 The Rght Hnd Tone Producton Nl Length nd She Nl Length7 Nl Tyes7 Shng the Nls Angle nd Plcement Rest Stroke (Aoyndo) Poston The Movement Plntng Pressure Relese Free Stroke (Trndo) Rght-Hnd Fnger Indeendence Wlkng Vrtons: Areggos from Trreg s The Comlete Techncl Studes The Thumb Shng the Nl Develo Tht Thumb!7 Blnce n Chords8 Blncng Act8 Flmenco Technques7 Wht Else Cn the Thumb Do?7 Soleres Flset7 Alzu7 Alzu Flset7 Rsguedos7 Some Prctcl Alctons7 from Turn s Sevlln 7 from Turn s Ráfg 7 from Rodrgo s Concerto de Arnjuez, nd Movement 7

2 Dly Wrm-U Routne: The Core of Pumng Nylon7 Left-Hnd Wlkng #, #, #7 #7 #77 #77 Ascendng Slurs #78 #78 Descendng Slurs #79 Trlets #79 Fxed-Fnger Exercses #7 #879 #79 #79 Fxed-Fnger Exercses #7 #88 #78 #88 Rght-Hnd Wlkng #98 Two-Fnger Rsguedos #8 #9 8 #8 Tremolo8 Psychologcl Outlook8 Exercses8 Exercses 8 Exercse 8 Exercses 8 Exercse 8 Losded Tremolos87 Chnt by Brn Hed A Tremolo Study87 Chnt Prerton87 Chnt9 Scles: Contol nd Velocty9 Msconcetons bout seed9 Rght-Hnd Velocty9 Synchronzton9 Strng Crossng9 Pecng Thngs Together9 Some Other Seed Ads98 Rhythmc Vrtons98 Seed Bursts99 Problem Solvng n Scles Mrkng Strng Crossngs Scle Study Double from the Cournte Evoluton of Scle from Tento Antguo by Joqun Rodrgo Scle Study Double from the Cournte, Prtt No, BWV, Johnn Sebstn Bch Areggos8 Full Plntng nd Sequentl Plntng8 Guln s Rght-Hnd Studes9 Prctcng Ts9 Sheshftng, An Areggo Etude by Evn Hrschelmn8 Ddctc Doodle by Andrew York7 Afterword Performnce Anxety A Smle Dee Brethng Routne Prctce Insrton In Concluson Scott Tennnt

3 THE LEFT HAND Fnger Plcement nd Accurcy It s vtl tht one dot strong left-hnd stnce nd lce the fngers n oston whch llows for mxmum rech nd flexblty As you cn see from the llustrton below, the fngers of the left hnd re not ll lced on the center of the fngerts Rther, n dvntgeous oston for the left hnd s s follows: The frst fnger () lys on the left sde of ts t The second fnger () lys just to the left of ts t The thrd fnger () lys just to the rght of ts t The fourth fnger () mkes contct on the rght sde of ts t Ths oston brngs the lrger muscles on ether sde of the hnd nto ly, not necessrly to suort fngers nd (lthough ths s beneft), but to blnce the whole hnd nd gve t stronger, more secure stnce It lso llows for greter fnger dexterty Notce the sce between the mddle jonts of ech fnger They re not touchng! Not only re they not touchng, but there s n ntentonl mount of extr sce Ths llows the fngers to sred rt nd rech wth greter seed when necessry Never llow these jonts to touch Ths ctully tkes more musculr effort thn keeng them rt, nd the buzzword of ths book s economy : economy of effort, economy of energy, economy of moton As for the thumb, kee t just under the second fnger Ths hels to dstrbute the ressure evenly between the fngers nd thumb, cretng sort of vse

4 8 Blnce n Chords Blncng Act s study desgned to hel you develo control of the rght-hnd fngers through regulton of fnger ressure on the strngs The oss stff (smller, lternte stff) shows the note tht should be stressed n ech chord Here re the thngs you should kee n mnd: Mke sure the frst three nd fnl two chords of the study re well-blnced, wth ll notes even n volume nd tone Feel ech strng deressed eqully Brng out the ndcted note n ech chord by lyng more ressure to tht strng Strt by lyng equl ressure to ll the strngs nvolved feel them dslced eqully Then, wth the rght-hnd fnger corresondng to the note to be ccentuted, dslce (move) tht strng down lttle more thn the others Relese nd follow through The fnger tht resses down more should follow-through lttle more thn the others Try to feel t rther thn thnk bout t NOTE: The tctle wreness requred to focus ths wy s not only mortnt for brngng out certn notes, but for successful nd secure lyng n generl It s often the mssng lnk between good lyer nd gret lyer Blncng Act Scott Tennnt 8 8 m m m ṗ m All notes even m m 7 m

5 8 #8 Fx on : # b b # b # # # n # b # n b b b # # # # # # # # # # b b b b b b n

6 8 ARPEGGIOS A few exlntons re necessry before you begn to study the mny reggo tterns rovded n ths secton Full Plntng nd Sequentl Plntng There re two wys of rerng the fngers on the strngs tht fcltte the lyng of reggos Full lntng mens tht ll the fngers nvolved n n reggo (excludng the thumb fter the ttern hs begun) re lnted smultneously Ths s lmost exclusvely done n scendng reggos Sequentl lntng nvolves lntng the fngers one t tme, s needed (ncludng the thumb), nd s led to descendng reggos, nd, n rctce, most others s well Full Plnt: Before lyng, --m- re lced on the strngs After lys, s lnted; fter lys, -m- re lnted, nd so on m Sequentl Plnt: Plnt ; fter t lys, lnt ; fter t lys, lnt m; fter t lys, mmedtely lnt ; fter t lys, lnt, nd so on m Combnng full nd sequentl lntng: In n reggo tht scends nd descends, use full lnt on the scendng orton of the reggo, nd lnt sequentlly on the descendng orton m m