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Giuliani 120 Right Hand Studies (2/10)

by Gerardo Siere

Lesson step:

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  • Difficulty: 5

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  • Hello, how are you doing, if it is the first time you're seeing this excercises go to the first of this lesson series, they are a lot easier than this group.

    This time I will add some commentaries on the other videos as things gets more complex: (vids 3, 4, 7, 8, 9, 12, 13, 14).

    I suggest you approach every arpeggio formula alone, even with open strings if you have trouble. If you are playing open strings, remember to keep the thumb in the correct string.

    The difficulties here are
    1) the opening between your thumb and the other fingers,
    2) simultaneous action of thumb and other fingers,
    3) consecutive fast stroke with thumb
    4) two adjacent strings played with the same fingering which we´ll be calling here "string glissando"
    5) string crossing
    To make a string glissando I leave my attacking finger almost fixated after playing the string and let the arm place the whole hand in a good position to play the next string. Both string are played with one finger movement, not two. Some times your finger can just play both strings with out any hand help, every case, every person and guitar are different, sorry.

    String crossing is, for example playing the 3rd string with i and the 4th with m, here changing hand's placement is absolutely necessary.

    For some formulas I have proposed one or two alternative fingerings, I have marked which was the original I took from the book "Punping Nylon" by Scoot Tenant. I have recently found a XIX century edition where instead of Tarrega´s notation (p-i-m-a), uses staccatto points for fingerings ( . = index), (.. = mediun) (... = ring), also I have lost my first copy of this that should be from in between of XIX century and the 90's so some update on fingerings may appear in the future.

    I know Sor, who didn't use nails, avoided a lot the use of ring finger and could do wizzardy stuff with just p-m-i, and also we have to have in mind that guitars were smaller and gut strings were used at that time.

    I suggest that this time you play the chords and try hearing what are the melodies involved, this two measure music is not as dull and inocent as one could think at first sight. You can practice them all in continous motion but that becomes some endurance excercise that may be good, but is not the main purpose here, doing the same but changing the formulas in between is far much difficult for your atention and memory, but I still don´t find any good reason to do it in that way, but the great masters of classical guitar seem to have done it this way.

    Main video is at 80 bpm and the rest of the videos are at 50 bpm, I added a lot of backing tracks and a funny habanera style jam-track.

    Have "fun" (I know techniques is not so funny). Hope you like it, see you.

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