+1 for both! Christopher Berg is excellent!
Off topic silliness: When I saw this post again, I laughed. Berg has said that he hasn't put much effort into promoting Giuliani Revisited or other works. Of course, I think this work should be in everyone's library and the work should be highly promoted. And every good promotion needs a good slogan, right? "Kind of a lot has happened since 1812."Todd Tipton wrote: ↑Tue Dec 04, 2018 2:43 pmI also highly recommend Christopher Berg's work instead of the original Giuliani. Kind of a lot has happened since 1812. I've said this many times and I'll say it again: not a single practice day goes by without my tattered and coffee stained copy of Giuliani Revisited.
Cool! I hope you find GR as useful as I have over the years. BTW, you or others might be (or not) interested in this: https://www.classicalguitardelcamp.com/ ... 1#p1322181
It might help to practice the passage while over-emphasizing string contact with the RH by playing slowly and as staccato as possible. You can do the same thing with the relevant Giuliani exercises.tejjy wrote: ↑Mon Dec 03, 2018 9:32 amThanks Chris - I'll start looking at those
Dirck: I realised after I posted the question that "finger independence" means different things to different people... the context in which it has come up for me is damping. If one (or two) fingers have to rest on a string(s) for damping purposes while the other fingers are plucking, I find it very difficult not to make a "sympathetic" plucking motion with the damping fingers, especially at speed. Looking very quickly at the R120 Chris mentions, I think some of the later sections will help with that.
But I think that plucking with different forces on different fingers would come into the same basket, and I assume that's one of the ways voicings are realised.
(I don't know how to describe my level)