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The classical guitar lessons are free. They are aimed at the isolated amateur who does not have access to a teacher. To join the class, apply for registration into the students group.
For the song La Tête Bizarde, on bars 3and 11; I'm confused as to which strings to dampen . . . .
Jono,
I am beginning to work through this piece and this is my take on it. Since the B on the 2nd bar is played by the 4th finger on the 3rd string followed by an open G on the same string, the dampen refers to the open G. If one uses the thumb on the following D, the string will be dampen as a natural result of the thumb coming to rest on the 3rd string. However, if you alternate with m (instead of p), you will need to dampen the 3rd string with \2. Is that what you concluded?
Here is La Tête Bizarde. It took me a while learning the right thumb part.
Good job Jono!
I am not sure why the piece is written with p indicated for those D notes since Delcamp's performance alternates i m without the thumb being used at all.
I am not expert, but I think your thumb is coming under the i and m fingers, you might want to rotate the hand a bit more to help the thumb come out more to side of the i finger. I think that is the preferred approach for more challenging works to prevent the fingers colliding against each other.
I am personally struggling through these pieces but hope to post something (at a slow tempo) over the weekend!
For the dampening part that's my conclusion after looking through it more carefully. I just did not get a chance to play the peice without using the right thumb.
Also I need to work with where my P rests.I'm not sure why it's difficult for me to position my P away from the rest of my fingers. I will try rotating my hands later. Looking forward for your vids!
Postby Robert Drechsler » Sat Dec 15, 2018 4:55 pm
Hi Jono, very well played!!! We already discussed the P notes since Delcamp's performance alternates and i think at the beginning it may be wise to use the written finger, also alternating m i might be easier from time to time
I would also suggest to practice slowly and focusing on technique. I'm no expert by any stretch of the imagination, but I do read a lot and this seems to be a common thread. If you think you're playing slow, slow down even more. Apparently by doing so the various techniques will become ingrained in the brain and will eventually become quite natural and you will be able to execute good right hand technique without much thought.
Bill
1959 Sakazo Nakade
1962 Mitsuru Tamura
1973 Ryoji Matsuoka No 40
1998 G.V. Rubio
2010 Hiroshi Komori No 35
I would also suggest to practice slowly and focusing on technique. I'm no expert by any stretch of the imagination, but I do read a lot and this seems to be a common thread. If you think you're playing slow, slow down even more. Apparently by doing so the various techniques will become ingrained in the brain and will eventually become quite natural and you will be able to execute good right hand technique without much thought.
Here is my first submission for the C Major scale. Compared to many other methods, Delcamp likes to through a lot into each exercise. He varies the notes, adds dynamics and dampen the notes. You do not get to see that in may beginner books.
Here is my submission for the Jig at half tempo. I am still working on increasing the speed for this piece. I tried recording La Tete Bizarde but even slowly, I am unable to record without a serious blunder. I need to spend another day on that piece. Hopefully, I will post it by tomorrow.