Grouped note are Smoother and faster.
Slogoin
this NG. Here are a few quick links I found about the importance of
grouping (uneven notes) for smooth fast playing.
=================================
http://www.atlantabrassalliance.com/notegrouping.htm
An essential but often ignored aspect of phrasing is your note
grouping. Proper note grouping will give your lines a musical purpose
and a sense of motion which is integral to good music.
[more at this site with examples of common grouping errors that impede
forward motion]
http://www.dolmetsch.com/musictheory15.htm
A great deal of music, particularly that from the Western musical
tradition, has an underlying pulse or beat. Think of the beat as
something 'you tap your foot to' when you are listening to a piece of
music. Bar-lines and time signatures are used to make the underlying
rhythm, the pattern of beats of differing weight (strong, medium,
weak), clearer to the performer.
http://www.suite101.com/article.cfm/saxophones/30771
You will be holding the first note of each barred group a little
longer, and the end of one slur will lead you into the first note of
the next. This is what grouping accomplishes. By playing the first
note a little longer, you are actually playing the four notes more
evenly. It might not seem like it (trust me, it does feel weird), but
you are.
roofus
> It seems this important idea is not understood by some posters to
> this NG. Here are a few quick links I found about the importance of
> grouping (uneven notes) for smooth fast playing.
>
> An essential but often ignored aspect of phrasing is your note
> grouping. Proper note grouping will give your lines a musical purpose
> and a sense of motion which is integral to good music.
>
> [more at this site with examples of common grouping errors that impede
> forward motion]
>
> http://www.dolmetsch.com/musictheory15.htm
>
> A great deal of music, particularly that from the Western musical
> tradition, has an underlying pulse or beat. Think of the beat as
> something 'you tap your foot to' when you are listening to a piece of
> music. Bar-lines and time signatures are used to make the underlying
> rhythm, the pattern of beats of differing weight (strong, medium,
> weak), clearer to the performer.
>
> http://www.suite101.com/article.cfm/saxophones/30771
>
> You will be holding the first note of each barred group a little
> longer, and the end of one slur will lead you into the first note of
> the next. This is what grouping accomplishes. By playing the first
> note a little longer, you are actually playing the four notes more
> evenly. It might not seem like it (trust me, it does feel weird), but
> you are.
Thanks, Larry, that's a significant contribution on your part. You
get points! :)
Charlie
to me at all. I've no idea what they are trying to say in general and about
the bouree and the gavotte in particular. Theory can be such a waste of
time.
Charlie
"Slogoin" <la...@deack.net> wrote in message
news:35d09ee6-daee-4b48...@d20g2000yqh.googlegroups.com...
Slogoin
> It seems this important idea is not understood by some posters to
> this NG. Here are a few quick links I found about the importance of
> grouping (uneven notes) for smooth fast playing.
> =================================http://www.atlantabrassalliance.com/notegrouping.htm
Here's a good one with sound samples of the common error of
students grouping by bar lines instead of playing to the long note.
http://www.tsmp.org/choir/randerson/anderson_expression_in_music.html
So maybe thinking pimi is not as helpful as imip...
To get how accents affect the music I often have students try
playing 4 note RH pattens in 3 so the accents rotate through all the
fingers. This works well with HVL#1 where you repeat it three times to
get back on cycle.
Charlie
I read all three, the last one had no music shown but referred to ex. 1 etc.
Not sure i loaded the page correctly.
I'm presumming these articles mean something to you but, frankly, they mean
nothing and seem somewhat arbitrary to me. I guess i just don't understand
what they are trying to say other than play it any old way you want and it
will sound good. The divisions put into the meter seems arbitrary to me.
Charlie
"Slogoin" <la...@deack.net> wrote in message
news:35d09ee6-daee-4b48...@d20g2000yqh.googlegroups.com...
Slogoin
> I read the Dolmetsch stuff. Is that written in English? It makes no sense
> to me at all. I've no idea what they are trying to say in general and about
> the bouree and the gavotte in particular. Theory can be such a waste of time.
Big waste if you don't get it.
The Bouree is a great example since the rhythm is in 4 but without
the big upbeat on 4 to land on 1 it's not the right rhythm for the
piece. I've taught the trio arrangement of the Bouree by Handle that's
in Noad's Solo Guitar playing and found that when students play the
right rhythm the notes suddenly make sense. Without that rhythm it's
hard to even hear the music.
For some of my students this piece is a big ah ha moment for
understand that just because it's in 4 does not mean there is just one
feel for 4/4. They also find out how the feel of the rhythm is
critical to technique as they discover how much easier it feels when
the big 4-1 is used to propel the movement forward.
Slogoin
> Larry,
>
> I read all three, the last one had no music shown but referred to ex. 1 etc.
> Not sure i loaded the page correctly.
>
> I'm presumming these articles mean something to you
And to the authors.
> but, frankly, they mean nothing and seem somewhat arbitrary to me.
How so? They are all about how the right note grouping makes the
music flow even though the notes are NOT even. The wrong grouping will
cause perceived gaps in the music. I'm sure you don't want to play 4/4
like 3/3 nor should anybody try to play a Bouree without the accents
the make it swing. Inside a good swing it's a LOT easier to play
smooth and fast.
> I guess i just don't understand
> what they are trying to say other than play it any old way you want and it
> will sound good. The divisions put into the meter seems arbitrary to me.
They are not arbitrary and you can't play it any old way and get a
good effect. See what I just posted about the bouree and maybe it will
make sense.
Tommy Grand
> How so? They are all about how the right note grouping makes the
> music flow even though the notes are NOT even. The wrong grouping will
> cause perceived gaps in the music.
So according to your false choice, we must either work on smooth
arpeggios or work on note grouping. BTW Larry, you never answered
whether you've had a student with a galloping tremolo and what you've
done about it. Since Una Limosna is one of your signature pieces, I
figure this might have come up in your studio. Was note grouping the
answer?
Slogoin
>
> So according to your false choice, we must either work on smooth
> arpeggios or work on note grouping.
No, that's your rewording what others say again as you try to win
points in your stupid game.
Smooth arpeggios are grouped in hierarchal waves. Flat notes are a
very modern sound and not found in most music. They are very hard to
do since we are wired for rhythm and will hear rhythm even when notes
are played dead flat. This is the Gestalt grouping stuff I was talking
to Lee about and it's not my idea but it sure makes sense to me and
every musician I've ever known.
> Was note grouping the answer?
Note grouping is ALWAYS the answer, LOL!
Tommy Grand
> No, that's your rewording what others say again as you try to win
> points in your stupid game.
>
> Smooth arpeggios are grouped in hierarchal waves. Flat notes are a
> very modern sound and not found in most music. They are very hard to
> do since we are wired for rhythm and will hear rhythm even when notes
> are played dead flat. This is the Gestalt grouping stuff I was talking
> to Lee about and it's not my idea but it sure makes sense to me and
> every musician I've ever known.
Yep, note grouping is important all right. So are controlled
arpeggios.
Slogoin
>
> Yep, note grouping is important all right. So are controlled arpeggios.
Yes, they are the same thing. If they are not then post one
example where someone plays controlled arpeggios that are note grouped
into hierarchal waves.
Slogoin
>
>
> > Yep, note grouping is important all right.
To underscore the point of how important and why dead even is not a
choice for human music:
"The human proclivity for auditory
grouping is so strong that it is even applied to sequences of
physically identical sounds, as for
example when an electronic metronome is heard as “tick tock” when in
fact each sound is the
same (Bolton, 1894). The fundamental question behind the present work
is whether grouping is
an innate building block of perception, or if instead it is learned
from the environment. "
http://vesicle.nsi.edu/users/patel/Iversen_Patel_Ohgushi_JASA_inPress.pdf
Perception of rhythmic grouping depends on auditory experience - 2008
Charlie
sense to me. I don't understand the brackets above the notes in the
articles and how they change anything at all about the melodies themselves.
I always presumed that the composer wrote the way he wanted it played.
Charlie
Tommy Grand
ecj
Hey Charlie. I think what the articles are getting at is how to
articulate a melodic passage to give it the best possible flow.
The easiest example to understand is, in my eyes, the simple 5 tone
scale in ex. 1 of the first article. They point out that due to the
way music is written you will probably completely unintentionally play
the example like this:
LA la la la LA la la la LA
C D E F G F E D C
Where the big "LA" is a heavier stress. They suggest that to truly
reflect the contour of the line you should play:
LA la la la la LA la la LA
C D E F G F E D C
Does that make sense? They suggest that the rationale is based on the
harmonic implications of the melody line.
edspyhill01
>
> Perception of rhythmic grouping depends on auditory experience - 2008
I got into learning about this concept about 2 or 3 years ago and read
2 books and several articles. I wanted to see how it affected pop
music and so listened to Rock soloists, bluegrass soloists, folk
players and found that successful performers and bands practiced note
grouping. Take the most basic idea, start a note grouping on an
upbeat, an anacrusis. Just about every blues and R&B singer starts a
vocal grouping on an upbeat.
Tommy Grand
> I got into learning about this concept about 2 or 3 years ago and read
> 2 books and several articles.
Has it helped your pimi?
Slogoin
> > post one example where someone plays
> controlled arpeggios that are note grouped
> > into hierarchal waves.
>
> http://www.youtube.com/watch?v=IrGYe4VtWTI
If that's your idea of controlled arpeggios, that you can't play,
then I can see why you are having so many problems and this NG is not
going to be able to help you.
Tommy Grand
Why the sarcasm? You didn't ask me to post something I can't play,
just controlled arpeggios not grouped into any "hierachal waves".
Charlie
took such time with, is better? the 'straight' way or the 'ala polacca' of
the second way? That's why i meant it is somewhat arbitrary. Most
composers for guitar that i am familiar with write their tunes in such a way
that the metered rythm is the standard, and, when they want to group their
notes differently, they put marks in the piece to indicate such difference.
I would think they would put there notes in measures because that's how they
want them grouped. Usually that makes a piece swing, at least in the
manner that they want it to. Check out any of Mertz's pieces, they are
loaded with very detailed dynamics, same with Sor, Carulli, etc. They are
constantly changing stresses etc in all their tunes.
Charlie
"ecj" <eva...@googlemail.com> wrote in message
news:d63d6cdd-1f0c-4220...@r5g2000yqb.googlegroups.com...
Slogoin
> I just reread those articles. I guess I'm slow but they literally make no
> sense to me. I don't understand the brackets above the notes in the
> articles and how they change anything at all about the melodies themselves.
Does 3/4 feel the same to you as 4/4? It's about where you put the
accents to make a rhythm. Most students break the phrase on he bars
instead of playing to beat 1 of the next measure then wonder why it's
not fluid.
> I always presumed that the composer wrote the way he wanted it played.
That assumes that you can write what you actually play but we can
see from MIDI realizations of actual scores that it does not sound
like human music. Humans don't play like computers. We group notes in
hierarchal rhythms even when there are no markings for them and most
composers assume that the musician reading his score has a background
that helps them make it music rather than what computers do to it.
Slogoin
>
> Why the sarcasm? You didn't ask me to post something I can't play,
> just controlled arpeggios not grouped into any "hierachal waves".
Yeah, like you didn't know I was talking about real music.
Tommy Grand
So you want me to find an example of unmusical playing on YouTube?
Slogoin
> Most composers for guitar that i am familiar with write their tunes in such a way
> that the metered rythm is the standard, and, when they want to group their
> notes differently, they put marks in the piece to indicate such difference.
Charlie, we are talking about how students do not play the standard
meter correctly. Most often in music we play to beat 1 not the last
beat in a measure.
It's amazing to me that any of this stuff is new to anybody who
has played music for a while. It's not like I'm making it up.
Slogoin
>
> So you want me to find an example of unmusical playing on YouTube?
Would unmusical playing be controlled to you?
Tommy Grand
Could be. Kent's arpeggio demos are controlled, but unmusical. It's
really not that complicated.
Tommy Grand
> It's amazing to me that any of this stuff is new to anybody who
> has played music for a while. It's not like I'm making it up.
You're right, I'm surprised we all can't play El Abejorro just by
getting our groove on.
ecj
> Yes, i did understand that but, well, who's to say which, in the example you
> took such time with, is better? the 'straight' way or the 'ala polacca' of
> the second way?
I can see your point. I thought you were confused about what the
argument itself was, based on your statement, "I just reread those
articles. I guess I'm slow but they literally make no sense to me."
The authors attempt to lend their opinion some objective weight by
claiming that, as I said, "the rationale is based on the harmonic
implications of the melody line." That is, the tension and
resolution. I'm inclined to agree that there is more going on in a
piece of music than what is written on the score, especially in this
regard, but I can understand why you'd say it was arbitrary.
Charlie
no matter whose it is, as if i was speaking or singing the line. I take my
cues from the era and from the tempo marking: ie, allegro does not
necessarily mean 'fast' so much as 'happy', 'forte' does not mean 'loud'
(american notion if there ever was one) as much as it does 'strong'.
No one on this planet can manage to sound like a midi file although i've
heard a few come pretty close! Surely that sort of mechanical playing must
indeed be more difficult than playing for meaning!
I was trying to relate to the rather dry presentations of the sites you
posted, all three of which were way technical, at least to my mind, almost
like Shearer's method. I was trying to learn something new and just now
realized that I have been playing grouped notes forever, so long that i have
taken it for granted.
Charlie
"Slogoin" <la...@deack.net> wrote in message
news:218ec85e-d9e4-4214...@p8g2000yqb.googlegroups.com...
Slogoin
>
> You're right, I'm surprised we all can't play El Abejorro just by
> getting our groove on.
It's the only way anybody will ever learn to play it.
Slogoin
> Larry, the light bulb just came on for me. I play all pieces, pretty much
> no matter whose it is, as if i was speaking or singing the line. I take my
> cues from the era and from the tempo marking: ie, allegro does not
> necessarily mean 'fast' so much as 'happy', 'forte' does not mean 'loud'
> (american notion if there ever was one) as much as it does 'strong'.
There ya go.
> No one on this planet can manage to sound like a midi file although i've
> heard a few come pretty close! Surely that sort of mechanical playing must
> indeed be more difficult than playing for meaning!
Exactly! No such thing as "pure" mechanics where there is no grouping.
> I was trying to relate to the rather dry presentations of the sites you
> posted, all three of which were way technical, at least to my mind, almost
> like Shearer's method. I was trying to learn something new and just now
> realized that I have been playing grouped notes forever, so long that i have
> taken it for granted.
>
> Charlie
You got it Charlie! Sorry you found it dry. I started with singing
and playing guitar so I know what you mean about it being automatic.
Unfortunately many students are not connected to the music that way,
and then you have people who think they can play 'technical' studies
without a rhythm hierarchy - go figure...
Tommy Grand
> Unfortunately many students are not connected to the music that way,
> and then you have people who think they can play 'technical' studies
> without a rhythm hierarchy
Poor souls like SY...
Slogoin
>
> Poor souls like SY...
SY knows exactly what I'm talking about and you probably do too but
you just keep playing this stupid game. As far as I ca tell you are
the ONLY person reading this who claims he doesn't get it.
Slogoin
> Just about every blues and R&B singer starts a vocal grouping on an upbeat.
Ed, that's true for most western music but in Japanese music
that's not the case. That point is in the article I posted about
grouping differences between people who speak different languages.
http://vesicle.nsi.edu/users/patel/Iversen_Patel_Ohgushi_JASA_inPress.pdf
Tommy Grand
I get that note-grouping is an important part of musical
interpretation, yes. Not sure how that fact will help me smooth out
pimi.
Tommy Grand
But let's avoid putting any words in SY's mouth. Here's what he
actually said:
"Foundation technique, in my opinion at least, is most effectively
developed through pure exercises followed as soon as possible
by a musical context."
I agree 100% with that.
Slogoin
>
> I get that note-grouping is an important part of musical
> interpretation, yes. Not sure how that fact will help me smooth out
> pimi.
I assume you are trying to play pimipimipimi...
So play it with a shape in mind. Group the groups.
In bees Pujol groups them in 4 groups following the same accents as
in 4/4... like the bass line. Shape that puppy so the whole measure
follows the normal accents in 4/4.
If you try to play it in 3 you get some interesting results -
PimIpiMipImiP - this kind of cycling through a rhythm is a useful way
to even out a limp that is caused by unequal i and m alternation in
4/4.
As has been mentioned there are many other ways to explore the
rhythms you can do with any RH fingering, like dotting or ramping the
volume or doing fast-slow patterns, but you must choose SOME
hierarchal rhythm shape as your goal. Go back and read Mr. Crim's post
carefully if this is not clear.
Slogoin
>
> "Foundation technique, in my opinion at least, is most effectively
> developed through pure exercises followed as soon as possible
> by a musical context."
>
> I agree 100% with that.
So far as I know SY has not said that a "pure exercise" is one
played without a rhythm structure so unless he pops in here to correct
me let's leave him out of this.
Tommy Grand
> On Jan 4, 5:27 pm, Tommy Grand <howardj...@yahoo.com> wrote:
>
>
>
> > I get that note-grouping is an important part of musical
> > interpretation, yes. Not sure how that fact will help me smooth out
> > pimi.
>
> I assume you are trying to play pimipimipimi...
>
> So play it with a shape in mind. Group the groups.
My self-diagnosis is this: the i-m part will take care of itself, but
everything else in the pattern is insecure. i follows m too late, and
i follows p too late. So I've been practising it like this: pi
(pause) mipi (pause) mipi (pause) etc. Slowly, then in bursts. I
think it's helping but we'll see at the end of the week!
Tommy Grand
The exercise he gave me would be an example of a "pure exercise",
obviously.
Slogoin
>
> My self-diagnosis is this: the i-m part will take care of itself, but
> everything else in the pattern is insecure. i follows m too late, and
> i follows p too late. So I've been practising it like this: pi
> (pause) mipi (pause) mipi (pause) etc. Slowly, then in bursts. I
> think it's helping but we'll see at the end of the week!
You changed the rhythm! Ta DA!
The big part is you cross over the i-p for the _grouping_ your
chose. To get your bursts up in speed be sure to think about the shape
of the bass line so you are always aiming past each 4 note figure to
the next group. You could try doing ramps from soft to loud, fast to
slow to help you feel the longer line and larger groupings.
Slogoin
>
> The exercise he gave me would be an example of a "pure exercise", obviously.
Do you play it in 3/4 or 4/4? He did not say HOW it should be
played but I bet he did not think anybody would try to play it like a
MIDI file and instead use musical sense to create a shape to aim for.
TG, you live in a tortured world if all this stuff about grouping
notes, even in "pure" exercises, is not part of your musical world. I
may not express this well but as I've repeated over and over, these
are not my ideas and they are all NNUTS.
Tommy Grand
> TG, you live in a tortured world if all this stuff about grouping
> notes, even in "pure" exercises, is not part of your musical world. I
> may not express this well but as I've repeated over and over, these
> are not my ideas and they are all NNUTS.
Perhaps, but I prefer SY's focused & direct advise to my specific
problem over your slew of links about note grouping. Sorry.
Tommy Grand
Didn't mean to sound so rude. In fact I value your challenging posts
so please don't relent!
Slogoin
>
> Perhaps, but I prefer SY's focused & direct advise to my specific
> problem over your slew of links about note grouping. Sorry.
No problem, it's obvious you haven't understood what I posted nor
what Crim or Lee posted nor the musicians who wrote the articles in
the links I posted. Keep putting words in SY's mouth, I'm interested
to see if he says anything.
Good luck playing like MIDI.
edspyhill01
> On Jan 4, 4:57 pm, edspyhill01 <edspyhil...@gmail.com> wrote:
>
> > I got into learning about this concept about 2 or 3 years ago and read
> > 2 books and several articles.
>
> Has it helped your pimi?
That's your obsession. My pimi and pmim and piai and paia and pma and
pam are just fine.
edspyhill01
My comment was not intended to encompass all world music. And I wish
I had not commented.
Slogoin
>
> My comment was not intended to encompass all world music.
No, you limited it but it connected to what I posted so I pointed that
out.
>And I wish I had not commented.
Why?
edspyhill01
I get the feeling most CGers are extremely unmusical and obsessed with
technique. It's a MUSICAL instrument that we PLAY music on. The
"rules" are just about everywhere, elevator music, radio, TV
commercials, Opera, instrumental music, jazz trios, pop singers, every
conceivable genre of music, they all exhibit the "rules" because human
brain likes them. The human brain ignores badly played music.
Dicerous
I only ignore badly played music that is the result of a martinet.
The martinet is completely unaware of otherness, almost like a
sociopath. Ed I've always liked your posts you have valuable
curiosity about things. Music can't be all things to all people, but
it certainly can express potential and yearning for something
beautiful. At least it can do that.
Tommy Grand
Well Ed I'm not talking about reading books that make me feel like a
swell fellow all around. I'm talking about impriving pimi!
edspyhill01
What musical passages do you play that that use pimi?
Tommy Grand
> What musical passages do you play that that use pimi?
Ed isn't that sort of like asking: "When will you have to bench press
in real life?"
edspyhill01
Nice buck & wing.
Tommy Grand
Ed I'm serious! pimi might not be used much, but p, i and m sure
are! It makes sense to work on their coordination. Just like you
strengthen your pecs in *general* to aid in whatever specific tasks
might come allong.
roofus
Tommy, are you a sports enthusiast?
Some musicians play like athletes. No soul, midi-like.
Some musicians play like aesthetes. All soul, no chops past moderato.
Some musicians play like athlete/aesthetes. Soul and chops, you name
the tempo!
roofus
Tommy, have you seen this?
http://www.goldspielprovostduo.com/gallerylessons.htm
Tommy Grand
> Tommy, have you seen this?http://www.goldspielprovostduo.com/gallerylessons.htm
No, which one covers pimi? And I am no athlete, but I know that
football players run laps sometimes, instead of always doing a
scrimmage!
roofus
I guess you're right, he hasn't covered it yet. What is the mystery
of pimi at the moment? Sorry that is proving so elusive. I find it
easy, so maybe I can help? At the end of each cycle, your fingers are
all flexed, right? And you are releasing with the thumb?
Tommy Grand
> I guess you're right, he hasn't covered it yet. What is the mystery
> of pimi at the moment? Sorry that is proving so elusive. I find it
> easy, so maybe I can help? At the end of each cycle, your fingers are
> all flexed, right? And you are releasing with the thumb?
I wouldn't say it's a mystery or particularly elusive...it's just what
I'm working on right now. The problem is that my i-finger is late
almost every time, as you can see here: http://www.youtube.com/watch?v=rzQW5Cwi8lI
roofus
What is your "release strategy"? When are you releasing the tension-
when you play p? On each stroke as in the "play-rellax" approach? (?)
Tommy Grand
> What is your "release strategy"? When are you releasing the tension-
> when you play p? On each stroke as in the "play-rellax" approach? (?)
I don't have a release strategy. What should I do exactly?
David Raleigh Arnold
> It seems this important idea is not understood by some posters to this
> NG. Here are a few quick links I found about the importance of grouping
> (uneven notes) for smooth fast playing.
> =================================
> http://www.atlantabrassalliance.com/notegrouping.htm
>
> An essential but often ignored aspect of phrasing is your note grouping.
> Proper note grouping will give your lines a musical purpose and a sense
> of motion which is integral to good music.
>
> [more at this site with examples of common grouping errors that impede
> forward motion]
>
>
> http://www.dolmetsch.com/musictheory15.htm
>
> A great deal of music, particularly that from the Western musical
> tradition, has an underlying pulse or beat. Think of the beat as
> something 'you tap your foot to' when you are listening to a piece of
> music. Bar-lines and time signatures are used to make the underlying
> rhythm, the pattern of beats of differing weight (strong, medium, weak),
> clearer to the performer.
>
>
> http://www.suite101.com/article.cfm/saxophones/30771
>
> You will be holding the first note of each barred group a little longer,
> and the end of one slur will lead you into the first note of the next.
> This is what grouping accomplishes. By playing the first note a little
> longer, you are actually playing the four notes more evenly. It might
> not seem like it (trust me, it does feel weird), but you are.
This sort of practice is for control. If you cannot exactly
quantify this "grouping" then you have no clear goal and
therefore your practice is as totally worthless as shooting
practice without anything to aim at. 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
Experiment. Try releasing when you play p. The fingers should all be
flexed in sympathy at this point. Go over to Provost's site and learn
about how to release the tension effectively. Just read all the pdf's.
Tommy Grand
Hrm I dunno sounds a bit vague. But I do appreciate it!
roofus
It isn't vague, it's basically the majority view..
edspyhill01
I know you are serious. I'm not saying you should not be. Some of
the pieces I preferred to play had passages where pimi were playing on
2 strings, p on one and imi on another string. Then I would have to
switch to playing an arpeggio on 3 strings. Playing some of
Giuliani's sonotinas has you play quarter notes, eighth notes,
triplets, 16th notes. His stuff is a workout, but so is Brouwer's.
I no longer feel comfortable talking technique since I'm still not
playing CG. I think I passed that certain age when "arther-ritus" and
other physical things are trumping will power.
Tommy Grand
> It isn't vague, it's basically the majority view...
What, that tense=bad?
roofus
Go look at Kent's video. This is Shearer, it is Provost. What
approach did you learn, if not this one?
Tommy Grand
Well the approach I'm learning is "listen critically to what's wrong
with your specific arpeggio and devise a custom exercise to fix it".
But I'm not sure I know how to do this well yet, or if its even the
best idea.