Capricho Arabe Questions
Mondoslug
A couple of questions:
1. The ascending chromatic thingie. How do you personally finger it?
a.)All up on the A string(3 positions) & then across?
b.)Start on the A string and go across using the open strings until
you get to the B String & then shift on the B string going up?
(My transcription has this but I haven't decided that that's how I'm
going to play it.)
c.)Something else?
2.) Do you play the ascending chromatic line with a rest or free
stroke?
Thanks!
David Raleigh Arnold
> Greetings, 25 years later I've finally learned this piece.
>
> A couple of questions:
>
> 1. The ascending chromatic thingie. How do you personally finger it?
>
> a.)All up on the A string(3 positions) & then across?
>
> b.)Start on the A string and go across using the open strings until you
> get to the B String & then shift on the B string going up? (My
> transcription has this but I haven't decided that that's how I'm going
> to play it.)
>
> c.)Something else?
(5) i01234
(4) m01234
(3) i012341234
(2) quint: m12123
a4
This is basically violin type fingering. You will find it
to be superior right away. For practice with
both 121212 and 123123123 see my chromatic scale study.
Add 11111 to it.
>
> 2.) Do you play the ascending chromatic line with a rest or free stroke?
A matter of interpretation. Regards, daveA
--
For beginners: very easy guitar music, solos, duets, exercises. Early
intermediate guitar solos. One best scale set for all guitarists.
http://www.openguitar.com/scalescomparison.html ::: plus new and
better chord and arpeggio exercises. http://www.openguitar.com
Music theory should be clues you can use,
not blues you can't lose.
roofus
See if you can derive anything from Jason Vieaux on youtube playing
this.
Mondoslug
> (5) i01234
> (4) m01234
> (3) i012341234
> (2) quint: m12123
> a4
>
Hey David...thanks for the tips. Appreciate it!
That's interesting. I'm liking this, if I don't feel the love for (2)
121234 thing I might try
(2)112344 but I'm going to try it.
thanks.
Hey roofus - thanks I did check that out yesterday actually.
dsi1
> Greetings, 25 years later I've finally learned this piece.
>
> A couple of questions:
>
> 1. The ascending chromatic thingie. How do you personally finger it?
>
>
> b.)Start on the A string and go across using the open strings until
> (My transcription has this but I haven't decided that that's how I'm
> going to play it.)
>
> c.)Something else?
>
> 2.) Do you play the ascending chromatic line with a rest or free
> stroke?
As a practical matter, you should probably plan on starting with the
first 5 notes on the A string and end on the B string at the 5th
position with a slide to the 7th position after the F note. Other than
that, you're on your own!
I like to transition to the upper position by hitting the adjacent open
string while shifting. Most people don't do this. If you think this is a
good idea, the logical place to do the shift would be at the open B
string to the C at the 5th fret which places your hand at the correct
position for continuing the run on the B string. I don't like playing
the G string at the 1st position so I do the shift on the D string 6th
position which is not efficient fingering but that's what I do to avoid
playing in that area. When you get to be an old fart guitarists, you'll
probably have favorite and not so favorite spots on the guitar that will
make you do goofy fingerings too. Good luck!
>
> Thanks!
David Raleigh Arnold
> On 1/6/2010 1:14 AM, Mondoslug wrote:
>> Greetings, 25 years later I've finally learned this piece.
>>
>> A couple of questions:
>>
>> 1. The ascending chromatic thingie. How do you personally finger it?
>>
>> a.)All up on the A string(3 positions)& then across?
>>
>> b.)Start on the A string and go across using the open strings until you
>> get to the B String& then shift on the B string going up? (My
>> transcription has this but I haven't decided that that's how I'm going
>> to play it.)
>>
>> c.)Something else?
>>
>> 2.) Do you play the ascending chromatic line with a rest or free
>> stroke?
>
> As a practical matter, you should probably plan on starting with the
> first 5 notes on the A string and end on the B string at the 5th
> position with a slide to the 7th position after the F note. Other than
> that, you're on your own!
>
> I like to transition to the upper position by hitting the adjacent open
> string while shifting. Most people don't do this. If you think this is a
> good idea,
3 notes on 3 different strings is nasty for the RH in a scale
passage at speed. Regards, daveA
dsi1
> On Wed, 06 Jan 2010 08:54:24 -1000, dsi1 wrote:
>
>> On 1/6/2010 1:14 AM, Mondoslug wrote:
>>> Greetings, 25 years later I've finally learned this piece.
>>>
>>> A couple of questions:
>>>
>>> 1. The ascending chromatic thingie. How do you personally finger it?
>>>
>>> a.)All up on the A string(3 positions)& then across?
>>>
>>> b.)Start on the A string and go across using the open strings until you
>>> get to the B String& then shift on the B string going up? (My
>>> transcription has this but I haven't decided that that's how I'm going
>>> to play it.)
>>>
>>> c.)Something else?
>>>
>>> 2.) Do you play the ascending chromatic line with a rest or free
>>> stroke?
>>
>> As a practical matter, you should probably plan on starting with the
>> first 5 notes on the A string and end on the B string at the 5th
>> position with a slide to the 7th position after the F note. Other than
>> that, you're on your own!
>>
>> I like to transition to the upper position by hitting the adjacent open
>> string while shifting. Most people don't do this. If you think this is a
>> good idea,
>
> 3 notes on 3 different strings is nasty for the RH in a scale
> passage at speed. Regards, daveA
>
You have a point there. No doubt that most people can handle the
transition up to the 5th position with not much problem. I can do it
that way too. Heck, you'd probably get a more even sound. Heck, I might
be the only guy that does it. I still like to do it that way. :-)
John Nguyen
I do 112344 on the 2nd string for the last 6 notes. Re: rest stroke
versus free stroke, I actually started out with the free strokes on
string 5th and 4th, then gradually changed to rest strokes on 3rd and
2nd strings just by holding the RH at the intiial psosition. It
pleases my ears more that way, but YMMV.
Cheers,
John
dsi1
Pretty classy move - sliding into that last note. Ditto for the
transformative stroke. Neat stuff!
>
> John
David Raleigh Arnold
Not really. Having a slide in the quintuplet makes it
harder to get it even, and if it's not even, it won't
be heard as a quintuplet. Regards, daveA
David Raleigh Arnold
It's possible because there's no tempo pressure until you get
to the quintuplet, so even sound is the constraint at that point, not
Mondoslug
All this talk had me come up with another that I'm getting along with
okay:
(G String)0123412344(B string)12344
I just need to settle on one. thanks for the fingerings all.
dsi1
> On Wed, 06 Jan 2010 20:19:58 -1000, dsi1 wrote:
>>
>> Pretty classy move - sliding into that last note.
>
> Not really. Having a slide in the quintuplet makes it
> harder to get it even, and if it's not even, it won't
> be heard as a quintuplet. Regards, daveA
>
Well, that's the whole point. Everybody's expecting it to be played a
certain way. You can either meet their expectations or perk up their
ears in this fashion.
Mondoslug
lick phrase on the low A instead of the high A as written although
that's probably a matter of interpretation/semantics.
I mean on the high A you're starting 1(e&a2e&a3e&a4e&a)
starting on the low A you'd be theoretically starting on the 2nd 16th
note, no? (e&a2e&a3e&a4e&a1)
It's all good.
Slogoin
You are correct. Many students think it's a run without a meter
and many of those folks never figure out why they can't play it fast.
Trying to take a long line with a crescendo as one unit of constantly
increasing speed and volume is nasty hard. If you use the meter you
can ramp each group of four instead.
If your tremolo is good you can play the groups of four with pami
starting the low A with the a finger so the p is on the first note of
each group. For some students this shows them that the rhythmless RH
is a LOT of their problem. Most students tend to think the LH is the
big problem and neglect the RH.