could you explain more?Sanft1 wrote: So I started practicing dedillo and tone repetitions with every single finger including p.
I don't really get what you mean... Thanks!
Right attitude! I also favour the “kiss”-principle! Making music on your guitar is difficult enough so I like to keep the road as clear of obstacles as possible!Scott_Kritzer wrote:...I tend to keep my approach simple, (minded?)...
Right again. As I said I use these rasgueado-exercises EXLUSIVELY to train extension. But you don't need to work too hard on extension because when playing there's no string-resistance to overcome. Alternation needs seperate, different exercises but it helps a lot if your extensors are in good shape (mine are)! What in my view is most important when playing scales and the like with alternating i/m is the coordination between rh and lh. I have special exercises to train that.Scott_Kritzer wrote:If I'm reading you right, (remember, not allowed access to link), you're doing a rasqueado exercise - yes, these do help the under worked extensors - and I think ultimately have a place for muscle development. But I find that scale speed comes from a good alternation and specific consideration of joint movement, mentioned above.
My man! Again the "kiss"-principle!Scott_Kritzer wrote:The concepts of alternation and sympathetic motion are very simple - easy to apply, and more importantly form a base foundation.
Neither do I. However, I practise scales as well as arpeggios with quite a wide range of rhythmic varieties. A simple dotted rhythm changes everything!Scott_Kritzer wrote:I spend most of my technique time further developing these skills, and not much in exercises outside of scales and arpeggios.
My "kiss" for the left hand: Trills with all fingers on all strings; ONE scale pattern and Pujol's exercises for position changing; basic chords in "exotic" keys and pieces like Rung's "Choräle" plus Pujol's spider. That's it.Scott_Kritzer wrote:The only concern I hear from my students is about left hand exercises. But by the time they can do their Segovia scales, without a pause, at 80-120 bpm the left hand is taken care of as well. This achieves muscle strength, shifting and coordination, syncronization of the hands, or timing.
Likewise! It's always great because explaining them forces you to rethink your positions and opinions (and stuff you simply got used to ). That's healthy! So let's continue when you're back!Scott_Kritzer wrote:I've really enjoyed this discussion