Absolutely, I can see that from the number of responses I received and the thought they put into their feedback. Good to see you too. By way of introduction I was doing 01 and 02 before which is where I met James, but I had to drop out just before the exams and hadn't touched the guitar for about 18 months. Hopefully I can stick with it this time round. I will also be trying 03 and 04, but the fact that my submissions here are far from perfect should explain why I am restarting 02.
Hello Ian. To answer your question to me I only use a metronome when I need it such as to figure out a piece with timing I cannot quite get or with measures I continually struggle with. As soon as I solve the problem I ditch it as it interferes with musical expression where we want at times to vary the cadence. That hardly applies to my first submissions where I simply screw up here and there as I struggle with smooth finger placements, but once I solve those issues I can concentrate more on the music and less on the mechanics.Ian Howe wrote: ↑Wed Sep 04, 2019 2:37 pmFolks,
I'm looking for videos and examples of this thumb damping myself method. I dont think i'm quite seeing it in Mr.Delcamps videos.
This is defo an area i want to work on but i need to see it done properly ultra slowly so i can attempt to replicate the skill. Andy Ideas?
To answer your general question to the group, firstly I recall looking for it in some of Delcamp's videos and not seeing it at first, but looking again I saw it. If you cite a specific video I will look again. But all of these damping exercises are extremely difficult to master for me and I would guess for most people. Carrying the skill to a piece it needs to become second nature...something we do without having to think about it or force it. That is finally starting to work for me, and yet as Bill pointed out I neglected to dampen in several measures. Those boring exercises are so important and must be repeated long after we think we have mastered them. Only when it becomes automatic in a piece can we start to conclude that our fingers finally get the point.
I will try to do a slow motion video tonight of my understanding of the technique.
Hello Bill: Great comments and observations, though I am uncertain about your first one. I am pretty certain that I played the exercise in 44, and just to check I replayed the video and counted it out. The tempo slowed a tad towards the end and should be improved, but it is 44 timing. My guess is that you are picking up on the fact that I play it much faster than Delcamp, which is a tempo difference. Clearly Delcamp could play this exercise much faster than any of us, but I think his point is that we need to place accuracy first, knowing that speed will follow. Nothing wrong with increasing the tempo if it doesn't sacrifice accuracy.
Hello Jeremy: And your point is exactly what I just talked about and exactly why I am redoing 02. Just because playing Oh! Suzanna isn't why I play this instrument it doesn't mean I can ignore the suggested fingering.
Thanks again to one and all.