Great collection of lessons, thank you very much! I play the A-Guitar for some time now but developed a lot of bad habits, as I wanted only to learn some songs to play and have fun and never payed that much attention to hands and body posture. I play mostly on a steel string guitar and am into every kind of music style. I want to get a clasical guitar and my goal is to be able to play it in an advanced level. As I'm currently not able to get a new guitar, I would like to ask, if these exercices are suitet for a steel string guitar as well? As the strings and neck are different. Thank you very much!!
Hi :) 1 - What is the best exercises you know which allow to use fingers on both hands independent of each other not symmetrically for example left hand fingers are going 1,2,3,4 but left hand figners strokes 4,3,2,1, (if You know what I mean saying "not symmetrically" english is not my native language,I use google translator haha) Generally, it's about the exercises developing the technique of the right hand like Rasgueado in flamenco etc etc let me clarify Basically the point is that our limbs have a natural tendency for symmetrical movement. That is, if the fingers of the left hand move in the order 1,2,3,4 (from pointing to little) fingers of the right hand that want to strokes according to the same pattern. The problem arises when we want to move the fingers of both hands at the same time but in different configurations, e.g. fingers 1,2,3,4 of the left hand together with fingers 4,3,2,1of the right hand. 2 - How to deal with this picking problem: We have two strings for example E and B and now we want play E string down /\ and B string up \/ or E string up \/ and B string down /\ Alternate picking right? How to get maximum speed with tremolo in this patern: one note per string? What we should avoid, what will stop our progress? How to achieve the level of Shawn Lane ? ;D Fingerpicking is ideal for it,but plectrum picking is a challenge. 3 - Hybrid picking development :) Best exercises/licks which You know,to achieve mastery in this technique :) Could You share with us? PS. "the best" mean "most difficult"
1. I think a wide variety of technique and repertoire in your daily practice routine will pretty much clear up these kind of issues without the need for anything specific. A routine of scales, arpeggios, slurs, barre, finger independence, and stretch will cover a lot of ground. 2. Again, with a balanced and varied technique routine I think either form of alternate picking should work. You want the down-up motion to be super natural regardless of the strings used. 3. What do you mean by Hybrid picking?
I was confused by the notation on the alignment exercise on p94 of your technique book. Judging from subsequent exercise notes I've decided they denote leaving the finger in position.
Hi, those are just open-ended ties. They simply indicate to let the notes ring. They are sometimes used when a simple rhythm is needed (eighth notes in this example) but sustain wanted to be indicated. In other words, let all notes sustain as long as possible.
I have practice routines at the beginner of the book. It all depends on where you are at. I would play theme just before doing scales so just a few minutes should do it.
Hey Bradford was just wondering if your new technique book is a new addition to your method book. I'm pretty new to classical guitar and I am wanting to buy a copy and wasn't sure if i would need to get both or if I would be able to just buy this new one and be covered. Thanks.
Hi, they are separate. I recommend people go through both my method books first but it's really up to you. If you have time for a 10-20 min technique session before practicing pieces the book will be useful. But if you are brand new to guitar I would just stick with the method book.
My copy of "The Bible of Classical Guitar Technique" by Hubert Käppel just arrived. Just a couple of observations: The first chapter uses vocabulary totally unknown to me as a beginner. No big deal. One fairly major thing though: I was getting really angry with myself because I couldn't play a C chord with my fingers all neatly lined up as suggested here, but that book quite strongly contradicts what is taught here about hand positions and posture. Going to have to find a happy medium. I feel sure I say that a lot :-)
Exactly, find a happy medium. I'm describing the 'text book' left hand position for basic scales and exercises. There will slight variations on this for weird guitar shapes etc. Just use this as a model to come in and out of and as a generally starting point. Don't get frustrated, do some alignment exercises and then just get on with playing as best you can.
Do you think that musical and non-musical exercises are equally good? Most people who want to learn a foreign language, e.g. learns the alphabet (when these languages are, e.g. Japanese, Chinese or Thai) then they learn vocabulary, then sentences, grammar and that's how they learn to speak the language, right? Analogous to music lessons: our alphabet are notes within the octave :) our vocabulary and sentences are motives and licks :) our grammar is functional harmony,tonal or modal rules etc and of course all this stuff which determine that our music is in the chosen genre :) Victor Wooten once inspired me to think about scales He said that Ionian scale is the same scale in all musical genres Ionian scale is exactly the same but the genres are different, so how to make the same scale sound different every time, in a different style how to play ionian death metal,ionian jazz,ionian bluegrass,ionian flamenco etc etc Can you do it?Do You know how? (returning to the topic) So why in 99% of cases the teaching process goes like this as if we gave children scattered letters and told them to compose / discover a new alphabet and their own language that no one except them will understand? Instead of teaching them music the way we learn foreign languages that is, instead of teaching them music by practice music we teach them to recite the alphabet from beginning to end, from end to beginning, or in random order (scales up and down or thirds) and they are counting on that one day poetry will out of it :D People who want to learn music learn exercises in this way they get into the habit of mindlessly playing scales instead of music all their compositions are similar like twins because they learned how to play exercises instead of music instead of composing music. They are in the situation of a foreigner who knows some random words they go out into the street in a foreign country and...have stage fright before the show :D they are not sure what they are saying or they are talking well :) You know what I mean. Summarizing, what is your opinion on this topic, about musical and non-musical exercises, how to solve this problem. ...and second question :> my favourite ;D harmonic Major :> ionian b6 and its modes :> why nobody talks about it, nobody teaches it, why it's so hard to find songs in harmonic Major? E.g. functional harmony for ionian b6 modal harmony for each of harm.Major modes modal progressions etc etc Are you familiar with the harmonic Major and could you discuss it one day from the tonal and modal side? Some musical exercises and examples :)
My opinion is that it's best to do both. There are benefits to both styles of learning and integrating both makes sense to me. But it does depend on the student. With beginners I do very little strict technique because I want to build musical enthusiasm and listening skills connected to musical phrasing. But some students, or students at certain levels of achievement, can go ahead and dive into technique exercises without any negative effects. So it's partly a efficiency issue and partly psychological.
@@Thisisclassicalguitar The psychological aspect in music is perhaps one of the most overlooked key elements. We are all different,there is no two same people but the teaching process has been developed according to one psychological pattern, the method is addressed to a specific type of personality and our success depends on how close we are to this pattern. If we are very far from the benchmark, then most often we abandon learning music,because we are different, not like "everyone else", not like we should be according to the system but is a completely different topic for a different discussion. If Bruce Lee hadn't had his Ipman today we would only know Bruce Springsteen :D Our development depends on our teacher is a master or not Talent is a myth, work is important, not talent.
A good teacher will know how to balance the student's needs both in terms of progress and enthusiasm or musical interest and development. Key word is "good" teacher.
I need help,when i get my left hand up in the neck,my hand is not straight and my arm hurts,but when i am low,my fingers are straight.What can i do to fix that? My thumb is behind my middle finger,my fingers are on their correct frets and it can't seem to be straight.I watched your videos,but somehow it did not work.Can you please help me? why is my hand not straight when i am high on the neck?
It's usually a combination of adjusting your posture, guitar position, guitar angle, and relaxation. All those topics are here: www.thisisclassicalguitar.com/lessons/
Thank you so much! I appreciate the reply.I got it yesterday kinda correct though,but i still need some correction,so this will help me a lot.Thank you again,have a great day
One more thing about that book: somebody should tell them that they made a big mistake in their choice of translator. The English is gobbledegook. I'm thinking I might send it back as it is virtually impossible to follow. I'll stick with it for a day or 2 just in case I can get anything from the pictures, but it's doubtful.
You're probably right. As a total beginner guitarist, but seasoned translator, my opinion is that they should not have accepted that translation, as it is absolutely awful. I would say that the translator was a non-native English speaker and had no clue about the subject. Some of the texts are complete nonsense. You probably sort of waft over the text as you already know what it is supposed to say. Honestly, if I knew how, I would contact the author and suggest that he complain to the publisher and get the translation pulled. It's definitely not been reviewed as there are so many spelling and punctuation mistakes. I would certainly not recommend this book to beginners. Sorry, but I feel strongly about this sort of stuff.
great lesson 👍❤️thanks
Great collection of lessons, thank you very much! I play the A-Guitar for some time now but developed a lot of bad habits, as I wanted only to learn some songs to play and have fun and never payed that much attention to hands and body posture. I play mostly on a steel string guitar and am into every kind of music style. I want to get a clasical guitar and my goal is to be able to play it in an advanced level. As I'm currently not able to get a new guitar, I would like to ask, if these exercices are suitet for a steel string guitar as well? As the strings and neck are different. Thank you very much!!
Good stuff ,Thank you Sir
Hi :)
1 - What is the best exercises you know
which allow to use fingers on both hands independent of each other
not symmetrically
for example left hand fingers are going 1,2,3,4
but left hand figners strokes 4,3,2,1,
(if You know what I mean saying "not symmetrically"
english is not my native language,I use google translator haha)
Generally, it's about the exercises developing the technique of the right hand
like Rasgueado in flamenco etc etc
let me clarify
Basically the point is that our limbs have a natural tendency
for symmetrical movement.
That is, if the fingers of the left hand move in the order 1,2,3,4 (from pointing to little)
fingers of the right hand that want to strokes according to the same pattern.
The problem arises when we want to move the fingers of both hands at the same time
but in different configurations, e.g. fingers 1,2,3,4 of the left hand together with fingers 4,3,2,1of the right hand.
2 - How to deal with this picking problem:
We have two strings for example E and B
and now we want play E string down /\ and B string up \/
or E string up \/ and B string down /\
Alternate picking right?
How to get maximum speed with tremolo in this patern: one note per string?
What we should avoid, what will stop our progress?
How to achieve the level of Shawn Lane ? ;D
Fingerpicking is ideal for it,but plectrum picking is a challenge.
3 - Hybrid picking development :)
Best exercises/licks which You know,to achieve mastery in this technique :)
Could You share with us?
PS. "the best" mean "most difficult"
1. I think a wide variety of technique and repertoire in your daily practice routine will pretty much clear up these kind of issues without the need for anything specific. A routine of scales, arpeggios, slurs, barre, finger independence, and stretch will cover a lot of ground.
2. Again, with a balanced and varied technique routine I think either form of alternate picking should work. You want the down-up motion to be super natural regardless of the strings used.
3. What do you mean by Hybrid picking?
I was confused by the notation on the alignment exercise on p94 of your technique book. Judging from subsequent exercise notes I've decided they denote leaving the finger in position.
Hi, those are just open-ended ties. They simply indicate to let the notes ring. They are sometimes used when a simple rhythm is needed (eighth notes in this example) but sustain wanted to be indicated. In other words, let all notes sustain as long as possible.
Thanks, that was great, how long should one dedicate to this exercise when incorporating it into the daily practice regime , would you suggest?
I have practice routines at the beginner of the book. It all depends on where you are at. I would play theme just before doing scales so just a few minutes should do it.
Can you make yamaha classical guitar reviews like the cordoba guitars
Hey Bradford was just wondering if your new technique book is a new addition to your method book. I'm pretty new to classical guitar and I am wanting to buy a copy and wasn't sure if i would need to get both or if I would be able to just buy this new one and be covered. Thanks.
Hi, they are separate. I recommend people go through both my method books first but it's really up to you. If you have time for a 10-20 min technique session before practicing pieces the book will be useful. But if you are brand new to guitar I would just stick with the method book.
@@Thisisclassicalguitar Okay thank you!
My copy of "The Bible of Classical Guitar Technique" by Hubert Käppel just arrived. Just a couple of observations: The first chapter uses vocabulary totally unknown to me as a beginner. No big deal. One fairly major thing though: I was getting really angry with myself because I couldn't play a C chord with my fingers all neatly lined up as suggested here, but that book quite strongly contradicts what is taught here about hand positions and posture. Going to have to find a happy medium. I feel sure I say that a lot :-)
Exactly, find a happy medium. I'm describing the 'text book' left hand position for basic scales and exercises. There will slight variations on this for weird guitar shapes etc. Just use this as a model to come in and out of and as a generally starting point. Don't get frustrated, do some alignment exercises and then just get on with playing as best you can.
Do you think that musical and non-musical exercises are equally good?
Most people who want to learn a foreign language, e.g.
learns the alphabet (when these languages are, e.g. Japanese, Chinese or Thai)
then they learn vocabulary, then sentences, grammar
and that's how they learn to speak the language, right?
Analogous to music lessons:
our alphabet are notes within the octave :)
our vocabulary and sentences are motives and licks :)
our grammar is functional harmony,tonal or modal rules etc
and of course all this stuff which determine that our music is in the chosen genre :)
Victor Wooten once inspired me to think about scales
He said that Ionian scale is the same scale in all musical genres
Ionian scale is exactly the same but the genres are different,
so how to make the same scale sound different every time, in a different style
how to play ionian death metal,ionian jazz,ionian bluegrass,ionian flamenco etc etc
Can you do it?Do You know how?
(returning to the topic)
So why in 99% of cases the teaching process goes like this
as if we gave children scattered letters
and told them to compose / discover a new alphabet
and their own language that no one except them will understand?
Instead of teaching them music the way we learn foreign languages
that is, instead of teaching them music by practice music
we teach them to recite the alphabet from beginning to end,
from end to beginning, or in random order
(scales up and down or thirds)
and they are counting on that one day poetry will out of it :D
People who want to learn music learn exercises
in this way they get into the habit of mindlessly playing scales instead of music
all their compositions are similar like twins
because they learned how to play exercises instead of music instead of composing music.
They are in the situation of a foreigner who knows some random words
they go out into the street in a foreign country and...have stage fright before the show :D
they are not sure what they are saying or they are talking well :) You know what I mean.
Summarizing, what is your opinion on this topic,
about musical and non-musical exercises, how to solve this problem.
...and second question :> my favourite ;D
harmonic Major :> ionian b6 and its modes :>
why nobody talks about it, nobody teaches it,
why it's so hard to find songs in harmonic Major?
E.g. functional harmony for ionian b6
modal harmony for each of harm.Major modes
modal progressions etc etc
Are you familiar with the harmonic Major and could you
discuss it one day from the tonal and modal side?
Some musical exercises and examples :)
My opinion is that it's best to do both. There are benefits to both styles of learning and integrating both makes sense to me. But it does depend on the student. With beginners I do very little strict technique because I want to build musical enthusiasm and listening skills connected to musical phrasing. But some students, or students at certain levels of achievement, can go ahead and dive into technique exercises without any negative effects. So it's partly a efficiency issue and partly psychological.
@@Thisisclassicalguitar The psychological aspect in music
is perhaps one of the most overlooked key elements.
We are all different,there is no two same people
but the teaching process has been developed according to one psychological pattern, the method is addressed to a specific type of personality and our success depends on how close we are to this pattern.
If we are very far from the benchmark, then most often we abandon learning music,because we are different, not like "everyone else",
not like we should be according to the system
but is a completely different topic for a different discussion.
If Bruce Lee hadn't had his Ipman
today we would only know Bruce Springsteen :D
Our development depends on our teacher is a master or not
Talent is a myth, work is important, not talent.
A good teacher will know how to balance the student's needs both in terms of progress and enthusiasm or musical interest and development. Key word is "good" teacher.
I need help,when i get my left hand up in the neck,my hand is not straight and my arm hurts,but when i am low,my fingers are straight.What can i do to fix that? My thumb is behind my middle finger,my fingers are on their correct frets and it can't seem to be straight.I watched your videos,but somehow it did not work.Can you please help me? why is my hand not straight when i am high on the neck?
It's usually a combination of adjusting your posture, guitar position, guitar angle, and relaxation. All those topics are here: www.thisisclassicalguitar.com/lessons/
Thank you so much! I appreciate the reply.I got it yesterday kinda correct though,but i still need some correction,so this will help me a lot.Thank you again,have a great day
My left thumb hurts from doing these left hand exercises.
Mis dedos son chuecos 😆
One more thing about that book: somebody should tell them that they made a big mistake in their choice of translator. The English is gobbledegook. I'm thinking I might send it back as it is virtually impossible to follow. I'll stick with it for a day or 2 just in case I can get anything from the pictures, but it's doubtful.
I found the translation okay. Maybe I just know the content so well that I don't think about it much.
You're probably right. As a total beginner guitarist, but seasoned translator, my opinion is that they should not have accepted that translation, as it is absolutely awful. I would say that the translator was a non-native English speaker and had no clue about the subject. Some of the texts are complete nonsense. You probably sort of waft over the text as you already know what it is supposed to say. Honestly, if I knew how, I would contact the author and suggest that he complain to the publisher and get the translation pulled. It's definitely not been reviewed as there are so many spelling and punctuation mistakes. I would certainly not recommend this book to beginners. Sorry, but I feel strongly about this sort of stuff.