Hi linda2, I don't remember tone on our lesson 1 but here is a great help on damping. It had most of us thrown in the beginning. (I started the course then lost being able to use my video recorder and have been trying other means ever since) It was in our first lesson.
Re: D01 - Lesson 1
Postby Dragonbones » Monday 15 November 2010, 03:27 am
Hi Darren, I'm just a beginner but after reading various threads and webpages on damping, I think that means the following: (others please correct me if I'm wrong)
When you play the A with your left middle finger (2), normally you would just press the tip precisely on the 2nd fret 3rd string without touching any other strings.
But here, to damp the B, lay the finger down slightly, partway toward playing a barre, what some call a 'lazy barre', so that the finger also touches (and thus silences) the 2nd string.
Darren Vass wrote:Is this just a left hand technique or is it also a right hand technique, as it shows in a different bar the p being mentioned?
My understanding (again, requesting correction if wrong) is that damping is done with either the LH or RH depending on the situation; the professor has written out a series of symbols to show that any of the four LH fingers can be used, as can the pima right hand fingers.
I think there are two basic LH techniques and several RH ones:
1. lazy barre, left hand (see above; I think this is probably what Prof. Delcamp wants with his symbols 1 2 3 4 but look forward to confirmation of this.)
2. reaching to touch a string with the flesh of a LH finger which is not being used at the moment
3. using a rest stroke with the thumb, which then silences the next string up (use this if available, as it is easy)
4. using a rest stroke with i, m or a, which silences the next string down (use this if available, as it is easy)
5. placing an unused p, i, m or a on a string to silencing it while playing another, e.g. play high open E, then at the same time that you play the next note, e.g. D on string 2, you place an unused i, m or a finger on the 1st string to silence it. In Prof. Delcamp's 2nd picture there's a D open 4th followed by a B open 2nd; when I play the B I'm just putting my thumb on the D as if about to play it (but not actually playing it) to mute it. I hope that is what our teacher intends.
6. using the back side of the thumb to silence a string, e.g. the 6th, at the same time that it starts to play another, e.g. the 5th (I'm trying this now with the low E, followed by low A in right side of Prof. Delcamp's first picture above; I'm not sure if this is the best choice but it seems to be working for me when I play with a relatively low wrist angle, and if I dig the thumb in slightly deeper than I normally would)
7. using any RH finger to silence an earlier note, right after using that RH finger to play the following note. (This doesn't seem as precise in terms of note duration, as it may let the earlier note ring slightly long.)
8. (Edit) I've also seen some describe using the thumb, e.g. on an open D then open E, to play the first note, then touch it to silence it just before playing the next note. It seems to me that this is fine if there's a rest indicated between the two. If not, e.g. if they are consecutive half notes, it seems that this technique would fail to give the first note its full time value -- someone on the forum described it as 'stealing a rest'. I'd be very interested to hear comments on this.
Hopefully our dear teacher and others can clarify and add to, or correct this.
Last edited by Dragonbones on Monday 15 November 2010, 07:00 am, edited 3 times in total.
2008 Sergio Huerta concierto,
San Miguel de Allende, Mexico
Joined: Friday 11 September 2009, 15:01 pm
Location: Taibei, Taiwan
Someone else chimed in that this was a great explanation.
As for tone, possibly the other lessons talk on it.
Thanks for listening to my recordings!