i also notice that you transfer from thumb over to thumb under, could you do a lesson on when and why to transfer? also you mentioned flexibility and hand fatigue, there are some excellent stretching exercises that help a lot with that.
I think that just comes from me switching back and forth a lot : ) Sometimes my hand just goes for what feels and sounds best for that particular moment. I don't necessarily think it would be the same for someone else. It is interesting looking at historical paintings and images and seeing the great variety of right hand positions people used. It is definitely a spectrum and not so simple as thumb-under and thumb-out, though it is a convenient way to divide things : ) I think stretching exercise would be particularly hopeful when learning new techniques since that is definitely the time when we are most likely to injure ourselves! Something I will keep in mind for a future episode : )
I could never play E flat until I started the bar on the 4th course, duh. now do a vid on D major at the 2nd position please, so many times I give up and use open strings
@@banjoboy01 for sure! I actually talk about it in an upcoming LSA article. One thing I found very helpful was to spend some time playing the common C major shape with 2 3 and 4 instead of the usual 1 2 3. Once you are really used to playing C major that way, you just move it up to D and drop that first finger. There are a few other tricks that I will definitely discuss in a future video : )
@@laudonschuett3019 thanks again, guide, slide, pivot, anchor fingers etc. are great but when that chord comes out of nowhere I'm too slow, I'll wait for the future vid
@@banjoboy01 it can be brutal. I think going SUPER slow and practicing getting all of the fingers down at exactly (or almost exactly) the same time. Forming that shape in the air and slowly lowering it. You do this over and over and over and it does start to get easier and faster. The trick is to NEVER cheat and put one finger down ahead of the other. Then find a piece with a bunch of them and practice getting into it in different context. I will make video!
@@laudonschuett3019 well said, I've been fighting my "fly away" pinky on guitar for years and this frustrating lute chord is going to cure that problem! I just looked at Abondante thinking they were intermediate tunes...lots of D major
Good question! I think the best way to go about it is to pick one genre. For example, if you choose late 16th century English pavins. Go find 10-15 of them (Johnson, Dowland, Holborne, etc.) and analyze them. You will start to see some common patterns. For example, with those pavins, you will find that they often open with a half note followed by two quarters (though often ornamented), they are broken into 3 sections with ornamented repeats, they have a regal character, and will commonly end with a reprise of the second half of the first A section. You will also find that the harmonic rhythm is fairly complex (lots of chord changes in a single measure). After you have analyzed the pieces and played them a bit, steal a bass line from one of them and write your own piece above it. This is an excellent way to create an entirely new work with a structure that you know is historical! : ) Rinse and repeat after that!
i also notice that you transfer from thumb over to thumb under, could you do a lesson on when and why to transfer?
also you mentioned flexibility and hand fatigue, there are some excellent stretching exercises that help a lot with that.
I think that just comes from me switching back and forth a lot : ) Sometimes my hand just goes for what feels and sounds best for that particular moment. I don't necessarily think it would be the same for someone else. It is interesting looking at historical paintings and images and seeing the great variety of right hand positions people used. It is definitely a spectrum and not so simple as thumb-under and thumb-out, though it is a convenient way to divide things : ) I think stretching exercise would be particularly hopeful when learning new techniques since that is definitely the time when we are most likely to injure ourselves! Something I will keep in mind for a future episode : )
I could never play E flat until I started the bar on the 4th course, duh. now do a vid on D major at the 2nd position please, so many times I give up and use open strings
@@banjoboy01 for sure! I actually talk about it in an upcoming LSA article. One thing I found very helpful was to spend some time playing the common C major shape with 2 3 and 4 instead of the usual 1 2 3. Once you are really used to playing C major that way, you just move it up to D and drop that first finger. There are a few other tricks that I will definitely discuss in a future video : )
@@laudonschuett3019 thanks again, guide, slide, pivot, anchor fingers etc. are great but when that chord comes out of nowhere I'm too slow, I'll wait for the future vid
@@banjoboy01 it can be brutal. I think going SUPER slow and practicing getting all of the fingers down at exactly (or almost exactly) the same time. Forming that shape in the air and slowly lowering it. You do this over and over and over and it does start to get easier and faster. The trick is to NEVER cheat and put one finger down ahead of the other. Then find a piece with a bunch of them and practice getting into it in different context. I will make video!
@@laudonschuett3019 well said, I've been fighting my "fly away" pinky on guitar for years and this frustrating lute chord is going to cure that problem! I just looked at Abondante thinking they were intermediate tunes...lots of D major
@@laudonschuett3019 hey..making the left hand "claw" and adjusting the elbow really help, I'm going to shut up and practice now
as a person who wants to compose what are the different types of pieces and what makes it that type of piece?
Good question! I think the best way to go about it is to pick one genre. For example, if you choose late 16th century English pavins. Go find 10-15 of them (Johnson, Dowland, Holborne, etc.) and analyze them. You will start to see some common patterns. For example, with those pavins, you will find that they often open with a half note followed by two quarters (though often ornamented), they are broken into 3 sections with ornamented repeats, they have a regal character, and will commonly end with a reprise of the second half of the first A section. You will also find that the harmonic rhythm is fairly complex (lots of chord changes in a single measure). After you have analyzed the pieces and played them a bit, steal a bass line from one of them and write your own piece above it. This is an excellent way to create an entirely new work with a structure that you know is historical! : ) Rinse and repeat after that!