SCALES AND ARPEGGIOS - Classical Guitar School
SCALES AND ARPEGGIOS - Classical Guitar School --->>> https://fancli.com/2tl1I3
Info: This book focuses on essential exercises for the development of classical guitar technique. All the exercises from the headings of the table of contents progress from easy to advanced in a progressive format. Although this is a book of exercises rather than a method, I have included many helpful tips throughout the book to aid students. As with all my materials, the video lessons are an added educational advantage.
Level: Intended for beginner to early-advanced classical guitar students (approximately RCM Toronto Grade 1-9). As a basic prerequisite students would have completed both Volume One and Two of my beginner method book series or an equivalent. There are a number of exercises in upper positions that include accidentals, therefore, additional reading experience is required if you wish to study the entire book. The inclusion of fingering, string numbers, and position marks should make the exercises easy to understand. The 100 open string exercises should be very accessible to beginners and advanced students alike.
The lessons below cover multiple exercises in one video but see the indented lessons that cover specific exercises and topics in greater detail. You might also want to review this lesson on how to play legato on classical guitar.
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Scale practice is probably the first thing that comes to mind when we think of practice and technical development. The idea that practicing scales makes you a better musician seems to be universally accepted yet in the case of the classical guitar the concept of scale practice seems a little misunderstood.
Simon,Thank-you for this statement! I had sets of classical guitar music memorized about 30 years ago. I had a vision that all these pieces were spinning out of control in my head and had to be removed. Well, it happened, they are gone. I have continuously sight read every piece of classical guitar music that I can get my hands on since this incident. I used to feel that sheet music was a crutch for my poor memory but now I believe it is a disservice to the composer not to study it AND have it present when their piece is performed. As one of your admirers, I am proud to agree with you! Keep sight reading!
Simon, I struggled for a long time about the importance of scales. Your lesson is a real eye opener and has opened for me a new impetus to start afresh, and to begin to use these to build better technique and site reading skills.I have enrolled for the courses. For the first time I am no longer looking at myself simply as someone who can play the guitar but look at myself as a musician who wants to improve.Thank youKeith
This means that all your right-hand technique practice is serving the same ends, and you progress more quickly. Any and all work you do on scales or arpeggios is simultaneously strengthening the other.
Perform two contrasting works (one slower, one faster) from different time periods (one baroque, the other classical, romantic, or modern). Examples: a movement from a Bach cello suite, plus a movement from a concerto by Hoffmeister or Walton. Choose two scales (major, melodic and harmonic minor) and their arpeggios (major and minor) and play them in three octaves.
Perform two contrasting and complete movements from the standard repertoire. Pieces could include movements from a Bach cello suite, a movement from a standard concerto or baroque or classical sonata, or an etude or virtuoso piece by Duport, Popper or Piatti. All major and melodic minor scales in at least three octaves.
Perform two or three contrasting movements or pieces showing facility through at least sixth position. The selections should demonstrate musical use of vibrato, and basic bowings such as legato, detaché and martelé. Perform two-octave scales and arpeggios in major and melodic minor in at least two different keys. NOTE: electric bass may NOT be used for the audition.
Perform a memorized solo from the standard repertoire and two etudes that utilize different techniques (i.e. arpeggio, scale, rest-stroke melody). Be prepared to perform from memory any two and three octave major and melodic minor scales (Segovia edition) with rest or free stroke (i-m; m-a). NOTE: electric guitar may NOT be used for auditions. Guitarists must contact Professor Piorkowski before scheduling the audition James.Piorkowski@fredonia.edu.
Perform three memorized solos in contrasting styles (e.g. Baroque, Classical, Romantic). Major and harmonic minor scales and arpeggios in four octaves (all keys for Performance applicants, keys starting on white notes for others). Please note: If you are submitting a video audition, please record the following scales: E major & E harmonic minor and G major & G harmonic minor. Please play four octaves of both scales and arpeggios.
The Classical Guitar Blog has a ton of resources on technique, so let me highlight a few for you below. Following the list of posts on this site, there some recommendations for books about classical guitar technique.
The goal of the linked posts on guitar technique is to make you think. Classical guitar technique excellence takes careful consideration of both technical exercises and how technique functions in the context of real pieces. So things like an angled vs. straight hand position can be noticed and practiced. These posts are some of the most important to read, but if you want more please check out the classical guitar technique category.
The classical guitar technique developed from two different backgrounds. Both arguably from Spain, but one heavily leaning on the Moorish culture invading Spain centuries ago, and the other one coming out of the traditional finger style approach. The first one drew influence from the oud-like playing that the Moorish people popularized in Spain, whereby a player would hold a feather and treat it like a pick on the guitar. This would allow for some very fast repeated tremolando effects, and something that later still stuck around on lute-like instruments. The finger style approach of early guitar playing would showcase itself in complicated strumming patterns found in the music for renaissance guitar or vihuela, and later baroque guitar.
These two influences merging on and off throughout history gave birth to an array of repertoire for what is played today on classical guitar, encompassing techniques of incredible variety. In the time of classical and romantic eras, guitar playing became rather virtuoso, featuring total shredders on the early forms of classical guitars. By the early 19th century, all fingers save from the pinky were utilized on the right hand, allowing for players to play incredibly complicated arpeggios, fast campanella scales, and strums of great difficulty. When the 20th century kicked in, and the electric guitar concept came about, the ancient approach to string picking became popular again, closing a centuries old circle of development.
The reason why any non-classical guitarists learn classical guitar may simply be because the classical guitar has the age-old advantage on technique. Learning technique rooted in history is appreciating history that made the instrument what it is today. When learning classical guitar, the idea is that the majority of the technique acquired can be applied to any other guitar playing style. Whether or not that is true can be debated, but it very well could be the main cause why rock guitarists take classical guitar lessons.
techniques: slurs, arpeggios, and scales. Spending time improving each of these mechanisms will make playing a lot easier and improve your sound. This is the second of a three-part series that will give you the ingredients you need to build a short warm-up routine. I will introduce several studies of varying difficulty, so choose the examples that best suit your playing level.
Arpeggios, in the context of the guitar, refer to using the right-hand fingers to play the strings one at a time. Arpeggios are everywhere in classical guitar, and there are hundreds of possible finger combinations. Before we start, remember (or memorize quickly) that we use the following abbreviations when referring to the right hand fingers: p for thumb, i for index, m for middle, and a for ring finger.
Check out this recent article by October Crifasi for a fingerstyle guitar perspective on similar arpeggios. Technical details differ between steel string fingerstyle and classical guitar, but the two styles have many mechanisms in common.
Though the roots of classical guitar trace back to the 1600s, you can continue to hear its influence on contemporary music from around the world. Rock guitarists such as Randy Rhoads (Ozzy Ozbourne) and Robby Krieger (The Doors), Brazilian composers Heitor Villa-Lobos and Antonio Carlos Jobim, and countless others have drawn inspiration from the great works of the classical guitar repertoire. Fundamentals of Classical Guitar offers a structured, active, and comprehensive entrance into the world of classical guitar, and is a perfect fit for students with pick-style electric and acoustic guitar backgrounds.
The course begins by providing an important perspective on the history of classical guitar, including its artists and the regions in which the music developed. You will also learn about and gain an appreciation of the role that classical guitar plays in the development of rock, folk, acoustic, and Latin American musical styles.You'll move on to develop a foundation for the techniques of executing arpeggios and scales for the picking hand, and applying these techniques to music from the past four centuries. Once these skills are developed, the course introduces more advanced techniques, including harmonics, tremolo, and rasgueado, using an ever-expanding repertoire.The course will explore Brazilian rhythm guitar styles, flamenco, tango, and songs from folk, classic, and contemporary rock styles. Each week's assignment will include a solo performance piece and a duet to be performed to a pre-recorded backing track. Students can work at a pace that is challenging but not overwhelming, allowing for more advanced players to perform more challenging versions of the weekly assignments for extra credit.The course material will be presented with extensive tab/notation, audio, and video, with music broken down into simple concepts that allow you to more easily master them. By the end of the course, you will have a foundational, working repertoire for the classical guitar that includes etudes, methods, and solo works from composers Mauro Giuliani, Matteo Carcassi, Fernando Sor, Francisco Tarrega, Leo Brouwer, and many more.By the end of the course, you will be able to:Fingerpick complex arpeggio patterns for the right-handPlay exercises, scales, and melodies using multiple right-hand finger combinationsPerform a variety of solo works from the classical repertoireDevelop an extensive repertoire of techniques, including tremolo, rasguedo, harmonics, slurs, and percussion effects Read Less OverviewSyllabusRequirementsInstructorsEnroll NowNo application requiredRequest InfoNeed guidance 59ce067264