First Lessons for the Right-Hand

Transcription

1 Part To First Lessons for the Right-Hand Lesson. The Bass Strings Lesson a introduces the oen th string D. The ire-ound sixth, fifth and fourth strings are commonly called the bass strings. Before you begin the lesson, lace i, m, and a on the third, second and first strings, resectively (the first string is closest to the floor). Use the right thumb () throughout the lesson. After laying the oen string, allo the ti-joint of the thumb to follo through to the index finger resting on the third string. Avoid assing the thumb behind the first finger and under the alm. This is one of the essential mechanical skills (called a mechanic ) you ill need to be a successful guitarist. Since the strings vibrate at a 90 angle to the to of the guitar, the to (hich is the vibrating soundboard) cannot fully resonate in hase ith the strings. We can exloit this design eakness by setting some notes more closely in hase ith the to of the guitar, thereby more fully activating the soundboard and achieving a more robust tone. The guitarist can also let some notes remain out of hase ith the soundboard alloing for a thinner, less resonant tone. A free stroke, commonly called tirando, is a lighter stroke often used for accomaniments. The thumb still resses into the string but lays at an angle that allos it to just ass over the next, higher string. The thumb flexes at all the joints as it moves across the strings and comes to rest at the index finger. Some guitarists can create very arm, rich free strokes by carefully cultivating the angle and ressure of the thumb. Before the thumb free-stroke. After the thumb free-stroke. Notice only the thumb has moved and the rest of the hand remained motionless. The Conservatory Tutor Vol. McDonald, age

2 A rest-stroke, commonly called an aoyando, is a more oerful stroke. Press the thumb don, through the string, setting the vibration of the string more in hase ith the soundboard of the guitar. The hysical result is the thumb resting on the next highest (closer to the floor) string. The musical result is a rich and oerful tone. The thumb before rest-stroke. Notice that the thumb is reared on the fourth string. The thumb after rest-stroke. Notice that the thumb has come to rest on the third string. CD TRACK Count: () () () () () () () () etc. Student Teacher Lesson a. a m i Count-off "----" Place i,m,a on the rd, nd, and st strings before you begin. b N The circled numbers indicate hich string to lay (the first string is closest to the floor). N b (continued belo) The double bar indicates the end of the iece. b b The Conservatory Tutor Vol. McDonald, age

3 You successfully erformed Lesson a if you: Ket a steady rhythm by counting to yourself or taing your foot. Ket your thumb to the left of your other fingers. Practiced ith both rest-strokes and free-strokes. Played Lesson a seven times in a ro ithout error. Lesson b introduces the oen fifth string A. Music goes higher and loer than the five line staff. Whenever necessary, e simly exand the staff u or don by short dashes called ledger lines. The fifth string A lies to ledger lines belo the staff. The free-stroke and rest-stroke are the same as on the D string. Again, lace i, m, a on the rd, nd, and st strings, resectively. During the next fe eeks you ill need to develo the ability to consistently find the correct strings ith the thumb and fingers of the right hand. To do this you ill need to create a oint of reference for the right hand by keeing the right fore-arm in exactly the same lace on the edge of the guitar. Correct lacement of the right fore-arm, alloing the normal eight of the arm to rest on the guitar. Remember to avoid hunching the right shoulder. Less effective lacement of the right fore-arm. The angle of the fingers to the strings shon above makes for an unfocused tone. It also forces the thumb to collide ith the fingers, or follo through into the alm. PROFESSIONAL TIP Many of the best layers ill flex the ti joint of the thumb the moment they release the string, esecially ith the free-stroke. They do this because it takes much less effort to lay and there is less residual tension in the alm. See the icture on age. The Conservatory Tutor Vol. McDonald, age

4 CD TRACK Student Lesson b. m a i 5 Teacher ΠN N You successfully erformed lesson b if you: Ket i, m, and a on the rd, nd and st strings. Ket the thumb to the left of the fingers and didn't allo the thumb to ass under the alm. Ket a steady beat for both rest-strokes and free-strokes. Ket the right fore-arm in exactly the same lace for each erformance. Played Lesson b seven times in a ro ithout error. To the Instructor: Further Teacher arts to the exercise duets are in the Instructor s Edition of The Conservatory Tutor, ith the excetion of the duets that teach style. The Conservatory Tutor Vol. McDonald, age

5 Lesson c introduces the sixth string E. Notice that some of the notes are beamed together. These are called eighth notes. The duration of an eighth note is one half that of a quarter note. In lesson c the quarter note receives one beat so an eighth note receives one half of a beat. If you are taing your foot, only ta your foot on the numbered beats and not on the ands. This ill hel you kee a steady ulse. The sixth string E is layed ith the thumb. Be sure to use both rest and free-strokes. A single flag is used for eight-notes hen only one eighth note is needed. If there is more than one eighth note in a ro, they are often joined by a beam to indicate the beat unit. This is done so that the rhythm is easier to read. J J = CD TRACK Count: () () () () Lesson c. ma i 6 You successfully erformed Lesson c if you: Ket your thumb to the left of your other fingers. Evenly divided the beat during the eighth-note assages. Rested your right fore-arm on the guitar in the same lace as you did for the revious lessons. Practiced ith both rest strokes and free-strokes. Played Lesson c seven times in a ro ithout error. PROFESSIONAL TIP Most layers ta their foot on the beat hile they ractice. They also lift their foot u on the ands of the beat, hich is a great idea. Also, be sure to ta the right-foot so the guitar neck isn t bouncing u and don. The Conservatory Tutor Vol. McDonald, age 5

6 Lesson d introduces string changes ith the thumb. One ay to hel stabilize the right-hand is to lay the thumb ith a rest-stroke. Try laying a thumb rest-stroke ith i, m, and a on the strings, folloed by a thumb rest-stroke ith i, m, and a off the strings. Resting i, m, and a on the strings is an aid to hel stabilize the right hand hile the oint of reference on the fore-arm is established. Once you are comfortable finding the correct strings ith the thumb, lay Lesson d ith a thumb freestroke ithout resting the other fingers on the strings. CD TRACK Lesson d. ma i Ket a steady ulse. You successfully erformed lesson d if you: You divided the beat equally for the eighth notes. Practices ith both i-m-a on and off the strings. Maintained a steady right-hand by establishing the fore-arm as a oint of reference. Ket the thumb to the left of the other fingers, even hen using the thumb -free stroke ith the other fingers off the strings. Practiced ith both rest-strokes and free-strokes. You flexed the thumb-ti hen you layed free-stroke. Played Lesson d seven times in a ro ithout error. The Conservatory Tutor Vol. McDonald, age 6