This example has a well established 3/8 rhythm: https://www.youtube.com/watch?v=Gd55o6bCg5Ytateharmann wrote:Certainly, and out of curiosity is the recording by Segovia mentioned above a well established 3/8 rhythm? If not, maybe you could point me to a good example. Thanks!
Tate,tateharmann wrote:For me, the hardest part of sight-reading is the rhythm :/
That would be a miracle! hahaYisrael van Handel wrote:I hope this will help you overcome the rhythm issue in one lesson.
OK, so I took your advice (and Paul's too) and I did play Sor's Opus 60 #1 with the metronome that was collecting dust in my closet haha. And tonight, I practiced this piece by Aguado again with the metronome for a while and redid the recording. Here are the fruits of my labor on the same guitar with the same strings and the same fingertips only technique. What do you think? Better, worse, same?Yisrael van Handel wrote:Practicing with the metronome is a question of getting into the habit. Start with the easiest piece there is (Sor Opus 60 #1) and play it with the metronome.
Rhythm is much improved. Sounds like you overcame the problem in one lesson. But do not stop playing with the metronome. There is some very small shifts in rhythm. Some of them may have to do with insecurity with playing the notes. That comes by itself over time, if you keep practicing and using the metronome. You are well on your way. Tone is as exquisite as ever.tateharmann wrote:What do you think? Better, worse, same? To me I feel like it's definitely more rhythmic but there are still a few hesitations. Thanks for listening!
Listening to that recording... plus the fact I have just got hold of a proper guitar... has really made me want to work on my tone. Do you literally just pluck at the strings and see what works, or is there more of a system in place? I found a guitar transcription of Satie's Gymnopédie No 1 online - it's nice and slow and easy to play, with lots of chords that ring on and really benefit from a beautiful tone... plus there's the chance to try and give the melody a different colour from the accompaniment. So I kinda have a plan, but since whatever you're doing clearly works, I'd like to try that too!tateharmann wrote:And, good tone is something that I constantly work on because I enjoy it. I often sit for endless minutes just plucking at the strings trying to get the best sound.
Not exactly, I mean, I guess it's a combination of that (trial and error) and following principles as set out by flesh players in their methods like F. Sor and E. Pujol.Mr Kite wrote: Do you literally just pluck at the strings and see what works, or is there more of a system in place?
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