MUSIC AND TECHNIQUE

TOGETHER
 MUSIC IS
TENSION AND RELAXATION
 “TECHNIQUE”
IS JUST THE ABILITY
TO MAKE
THE CORRECT MOVEMENTS
IN THE CORRECT MOMENT
 THE MOVEMENTS
HAS TO BE WITH
TENSION AND RELAXATION
 SYNCHRONISM
AND BREATH
ARE VERY IMPORTANT
 THE BODY
IS THE FIRST INSTRUMENT
KEEP ATTENTION
IN EACH PART OF
THE BODY
 BODY
BACK
HEAD
LEGS - FOOT
SHOULDERS
ARMS - ELBOWS - WRISTS
HANDS - FINGERS
 ARTICULATION AND
FLESSIBILITY
OF THE SOUND
ARE VERY IMPORTANT
PART OF THE MUSICALITY
IS THE ABILITY TO MAKE
THE BEST CONNECTION
BETWEEN THE NOTES
THROUGH THE GESTURES
 TECHNIQUE
IS THE CONTROL OF THE
GESTURES
THE MUSIC FOR GUITAR
IS MADE BY
THESE ELEMENTS:
 SCALES
ARPEGGIOS
CHORDS
SLURS
MELODY WITH ACCOMPANIMENT
POLYPHONIC MOVEMENTS OF THE VOICES
CHANGES OF POSITION
ORNAMENTS
VARIOUS EFFECTS:
HARMONICS, RASGUEADOS, PIZZICATO, TAMBORA, TREMOLO, …
THE OBJECTIVE THINGS
TO EXPRESS THE MUSIC
ARE:
 DYNAMIC
AGOGIC
ARTICULATION:
LEGATO AND STACCATO
METRICAL ACCENTS
QUALITY OF THE SOUND
GOOD USE OF THE TIMBERS
VIBRATO
STYLE OF THE PERIOD
MUSICAL FORMS
THESE OBJECTIVE THINGS,
ALL TOGETHER,
PRODUCE A
SUBJECTIVE RESULT
 THE PHILOSOPHY OF THE
WORK IN VERY IMPORTANT
FOR SOME PLAYERS
THE PHILOSOPHY IS:

PLAYING FAST
WITHOUT MISTAKES
 FOR SOME OTHERS
THE PHILOSOPHY IS:

PLAYING
TO EXPRESS HIMSELF,
FINDING THE MOST BEAUTIFUL
ARTISTIC RESULT,
WITH RESPECT FOR THE MUSIC
AND THE COMPOSER
PRACTICE WITH ACCURACY
AND IDENTIFIES YOUR
GOAL
EVERY TIME
YOU ARE PLAYING
 FEELING, SENSIBILITY,
INTUITION AND INSTINCT
ARE IMPORTANT
IN THE DAILY WORK
HOW TO START THE WORK
STRETCHING:
BODY
BACK
SHOULDERS
ARMS
FINGERS
WARM UP: LEFT HAND
SLURS WITH EMPTY STRINGS
PULL ON AND OFF
ALL COMBINATIONS
0-1/0-2/0-3/0-4
1-0/2-0/3-0/4-0
WARM UP: RIGHT HAND
EMPTY STRINGS
REPEAT EACH FINGER MANY TIMES
DIFFERENT SPEEDS
WITH DYNAMIC
WITH AND WITHOUT PLANTING
WARM UP: RIGHT HAND
EMPTY STRINGS
DIFFERENT SPEEDS
WITH DYNAMIC
WITH AND WITHOUT PLANTING
WARM UP: LEFT HAND
JUMP ACROSS THE STRINGS
PLAYING LEGATO
 WARM UP: LEFT HAND
SLURS: ASCENDING AND DESCENDING
1-2/2-3/3-4/1-3/2-4/1-4
0-1-2/0-2-3/0-3-4/0-1-3/0-2-4/0-1-4
0-1-2-1/0-2-3-2/0-3-4-3/0-1-3-1/0-2-4-2/0-1-4-1
DIFFERENT SPEEDS
WITH DYNAMIC
VARIANTS 1
 VARIANTS 2
OTHER COMBINATIONS:1-3-2-4/1-4-2-3
 VARIANTS 3
OTHER COMBINATIONS:1-3-2-4/1-4-2-3
 WARM UP: RIGHT HAND
ARPEGGIOS: P-I-M-A / P-I-A-M
P-M-I-A / P-M-A-I / P-A-M-I / P-A-I-M
DIFFERENT SPEEDS, ACCENTS AND RHITMS
WITH DYNAMIC
 CARCASSI: ETUDES OP. 60
FOR ARPEGGIOS, SOME FORMULAS:
P-I-M / P-A-M / P-I-M-A / P-A-M-I
P-I-M-A-M-I / P-M-I-A-M-I
P-I-M-I-A-I-M-I / P-A-M-A-I-A-M-A
CARCASSI: ETUDES OP. 60
FOR SLURS
 LEFT HAND
FINGERS INDIPENDENCE 1
 LEFT HAND
FINGERS INDIPENDENCE 2
 LEFT HAND
FINGERS INDIPENDENCE 3
 SIMPLE SCALES
SYNCRONIZATION
DIFFERENT RYTHMS
DIFFERENT COMBINATIONS FINGERING RIGHT HAND
SOME COMBINATIONS:
TWO FINGERS: I-M/M-A/A-I//P-I/P-M/P-A
THREE FINGERS: P-M-I/P-A-I/A-M-I/M-I-A
FOUR FINGERS: P-A-M-I/A-M-I-P/P-M-I-A/A-M-I-M
 RYTHM PATTERNS 1
WITH DIFFERENT ARTICULATIONS
 RYTHM PATTERNS 2
WITH DIFFERENT ARTICULATIONS
 RYTHM PATTERNS 3
WITH DIFFERENT ARTICULATIONS
RYTHM PATTERNS 4
FOR FINGERING P-A-M-I
SHORT SCALES 1
SHORT SCALES 2
CHROMATIC SCALE IN OCTAVES
SCALES WITH SLURS 1
SCALES WITH SLURS 2
DIFFERENT ACCENTS
DOUBLE SCALES
DOUBLE SCALES
RYTHM PATTERNS
GIULIANI: GUITAR METHOD OP. 1
CHANGES OF POSITION
WITH EMPTY STRING
 CHANGES OF POSITION
WITH FIXED FINGER ON THE STRING
COMBINATIONS: 1-2/1-3/1-4/2-3/2-4/3-4
CHANGES OF POSITION
ACROSS DIFFERENT STRINGS
WITH DIFFERENT FINGERINGS
BARRE’
TREMOLO
TREMOLO PATTERNS 1
TREMOLO PATTERNS 2
ORNAMENTS: LEFT HAND 1
ORNAMENTS: LEFT HAND 2
ORNAMENTS: LEFT HAND 3
ORNAMENTS: LEFT HAND 4
ORNAMENTS: RIGHT HAND 1
ORNAMENTS: RIGHT HAND 2
VIBRATO 1
VIBRATO 2
VIBRATO 3
VIBRATO 4
 VIBRATO 5
SLOW VIBRATO, FAST ARPEGGIO
FAST VIBRATO, SLOW ARPEGGIO
RASGUEADO 1
RASGUEADO 2