The Bible of Classical Guitar Technique

Libro: The Bible of Classical Guitar Technique
Autor: Hubert Käppel
 
Páginas: 246
Idioma: English
 
 
A detailed compendium of the fundamentals and playing techniques of 21st century classical guitar including comprehensive, progressively structured exercises throughout
“Art doesn’t come from being able to do something, but from having to do it” Arnold Schönberg
 
At the beginning 1980s I gave various lectures on the topic of guitar technique. The idea to compile my guitar playing methods into a book originated at this time. Although I was often requested by my students and course participants to publish a book on guitar technique, it took more than two decades for this compendium to finally appear. By now I am actually very thankful for this. My 40 years of teaching experience has added numerous facets to my conceptual approach.
 
Of course my ideas concerning guitar technique are based on the pioneering achievements of the great masters of the guitar, above all Giulani, Sor and Tarrega and naturally Pujol, Carlevaro, Llobet and Segovia as well. Without them this book would be inconceivable. But the question remains: is an additional technique book for guitarists actually necessary?
 
I say yes! Guitar technique has advanced so vastly in the last three decades that it is now time to take this into account. Guitar performance has never been at a higher technical level than it is today and there is no prospect to the end of this development.
 
In my first year of studies, I was impressed by the quantity and diversity of the technical practice material that was available at the time. Later I found it difficult to deal with this large offering of exercises effectively. Therefore the idea to present the material in a more clearly arranged fashion was already developing in my mind at an early stage.
 
In this book I have attempted to, while organizing the material and presenting it in a more assessable manner for practical purposes, add several new exercises as well – each of which addresses a technical and musical aspect of playing – and in addition add to the practice sections a comprehensive description of the exact movements performed by each hand as well as a detailed explanation of exactly how the sound is produced. This book is rounded off by a “Short Introduction to Systematic Practicing,” a chapter on fingering techniques with explanatory examples as well as further important topics such as “Tuning the Guitar,” “Playing from Memory – Memory and Mental Training” and “Stage Fright and Fear of Performing.” The examples found in the “Technical Practice Guides” at the end of the book should provide the guitarist with a real orientation for practicing technique. They are extremely helpful when dealing with this handbook and will be explained in depth in the “Suggestions for Using this Technique Handbook.”
 
As the exercises found in each chapter are almost all ordered progressively according to their level of difficulty, this handbook is also suited for less advanced players. For example, a guitar teacher can use this technique handbook for almost any playing level as a supplementary or sole method book. The flamenco guitarist will find equally as much material as the rock guitarist, who for example in the chapter “Coordination of the Left and Right Hands” would employ a pick instead of his fingers. The slur exercises for the left hand make sense for any guitarists of all genres.
 
A book of this magnitude cannot be completed without the help of others. At this point I would like to thank above all my students as well as my colleague and friend, Hans-Werner Huppertz, who supplied me with very valuable suggestions. Representing the many experts that made this book possible, I would like to thank Jorg Falk who provided the aesthetically appealing notation, Thomas Kaiser, Julia Gray, Gunter Schillings, Georg Schmitz for his continual support of this comprehensive project and Tina van den Berg for her review of the written text. My special thanks go to my publisher Detlef Kessler for his patience over the many years as well as my editor Karin Stuhrmann. Without them and their tireless, critical minds, the book would have never come into existence in its present form.
 
No book can replace a teacher. But in learning and teaching, it can be of great help and provide many impulses and stimulation.
 
Lohmar, November 2010
 
Hubert Käppel
 
 
CONTENT:
 
Preface
Introductory Words by Aniello Desiderio
Suggestions for Using this Technique Handbook
 

Part One: Prerequisites and Basics

I. Short Introduction to Systematic Practicing

Prerequisites
Organizing Your Practicing
Practice Objectives
On Practicing Technique
On Sound, Rhythm and Tempo While Practicing
Motivation
Practicing with a Metronome
The Importance of Playing from Memory While Practicing
On the Frequent Repetition of Difficult Passages, Single Measures or Phrases
 
II. Holding the Instrument
 
The Four Points of Contact on the Body
The Correct Angle Towards the Body
Alternate Ways to Hold the Guitar
The Fusion of Body and Guitar into a Single Sound Source
 
III. Left Hand Posture (LH)
 
Four Universal Rules
The Principles of the Four Hand Shapes
Different Positions of the Left Arm-Hand-Finger System, Clarified by the Fourth Hand Shape
The Positioning of the Fingertips
 
IV. Short Outline of the Movements of the Left Hand (LH)
 
The Shoulder-Arm-Hand System
The Motion of the Arm
Basic Motions of the Fingers
Intonation and Finger Pressure
Left Hand Shift
Stretching and Contracting the Fingers
Ascending and Descending Slurs
Barre
Vibrato
 
V. Right Hand Posture (RH)
 
Posture
Base Finger Joint Position Relative to the Strings
 
VI. Tone Production and a Short Outline of the Movements of the Right Hand (RH)
 
Introduction
Nail Shape
Nail Length
Nail Shape of the Playing Finger
Polishing the Nails
Playing Angle of the RH
A System of Springs
Tirando: Sequence of Motions
Apoyando: Sequence of Motions
Sequence of Motions when Alternating Strokes (m-i and a-m-i)
Thumb Attack: Sequence of Motions
Tonal Colors and Point of Contact
Playing Chords (Several Notes Simultaneously): Sequence of Motions
Arpeggios: Sequence of Motions
 

Part Two: Technical Exercises

I. Arpeggios

 
The Practicing Units 48
Endurance, Evenness and Speed
Arpeggio Practicing Methods
 
1. Variable String Assignments of p-i-m-a
2. Impulse and Reflex Development
3. Practicing with Fixed Fingers (RH)
Chord Progressions and LH Patterns
 
Arpeggio Practicing Units
 
A1 The 6 Basic Arpeggios
A2 6 Basic Arpeggios Expanded to 24
A3 Arpeggios with p-m-i, p-m-a, p-i-a
A4 Alternating Various Arpeggio Patterns
A5 12 Basic Arpeggios with Simultaneous Thumb Attacks
A6 12 Basic Arpeggios with Polyrhythms
A7 Arpeggios with p-i, p-m and p-a
A8 Important Two-Part Arpeggios
A9 The 12 Basic Arpeggios on Three Strings
A10 36 Six Note Arpeggios
A11 24 Eight Note Arpeggios
A12 Variations of the 12 Basic Arpeggios on Three Strings
A13 Arpeggios with Thumb Accompaniment
A14 Various Arpeggio Patterns
A15 12 Basic Arpeggios as Quintuplets
A16 Arpeggios with Two to Eight Note Groupings
A17 112 Arpeggios on the 2nd and 3rd Treble Strings
A18 Basic Arpeggios with Difficult String Crossings
A19 Playing Chords with Arpeggios and Repeated Notes
A20 One Finger Arpeggios over Several Strings
A21 Arpeggios with Thumb Accompaniment to Strengthen Your Attack
Intensive Training of Important Arpeggios
 
A22 Intensive: The Classic Arpeggio Pattern p-i-m
A23 Intensive: The Classic Arpeggio Pattern p-i-m-a
 
II. Coordination of the Left and Right Hands
 
Speed and String Crossing Exercises in the Right Hand
 
Speed Exercises with Repeating Rhythms on a Single String
Speed Exercises
String Crossing Exercises
Synchronization of Your Left and Right Hands – Exercises Using 2 Fingers from Each
 
Chromatic Triplet Exercises over All Strings
Synchronization Exercises While Changing Strings
 
Synchronization of 3 Fingers of the LH / 2 and 3 Fingers of the RH
 
Synchronization of 4 Fingers of the LH / 2 and 3 Fingers of the RH (24 Permutations)
 
Synchronization of 4 Fingers of Both the Left and Right Hands (8 Note Permutation)
 
Intensive Training of the Chromatic Permutations 1 2 3 4 and 4 3 2 1
Various Coordination Exercises
 
 
III. Scales in All Keys
 
Preparatory Studies for Scales and Runs
 
Scales over Two and Three Octaves in the Circle of Fifths and Fourths
 
Five Short Exercises for Major and Minor Scales
Applied Practicing Methods for Scales
 
1. RH Patterns, 2. Repetitions, 3. Rhythms
4. Accents, 5. Articulation 6. Dynamics
Examples for Practicing Single Scales and Runs
 
Scales in Triplets
 
Scales in Triplets with Three Finger Alternating Patterns a-m-i and p-m-i
 
Scale Practicing Models in the Circle of Fifths
 
1. 24 Scales with Alternating Finger Patterns
2. 24 Scales with Repetitions
3. Using a-m-i and p-m-i in Four Note Groups
4. The Practicing Model of the 12 Basic Arpeggios (Excluding the Thumb)
Practicing an Original Run Chosen from the Repertoire
 
 
IV. Ascending and Descending Slurs in the Left Hand
 
Immediately Changing from the Treble to the Bass Strings
Slurs with Two Fingers
 
Ascending Two Note Slurs
Descending Two Note Slurs
Combining Ascending and Descending Slurs
Two Note Slurs as Triplets
Complex Two Note Slurs as Triplets
Ascending Two Note Slurs While Crossing Strings
Descending Two Note Slurs While Crossing Strings
Two Note Slurs as Triplets While Crossing Strings
Two Note Slur Combinations While Crossing Strings
Two Note Slur Combinations as Triplets While Changing Strings
Slurs with Three Fingers
 
Group 1 Diatonic – Triplet Slurs
Group 2 Diatonic – Triplet Slurs
Groups 3 and 4 Chromatic – Triplet Slurs
Slurs with Three Fingers Divided into Four Note Groups
Combining Two and Three Note Slur Combinations
Ascending Slurs with Three Fingers While Crossing Strings
Ascending and Descending Slurs with Open Strings
 
Slurs with Two Fingers and an Open String
Slurs with Three Fingers and an Open String
Ascending and Descending Slurs as an Embellishment
Short and Intensive Slur Exercises
Scales with Slurs
Chromatic Scales with Slurs
Slurs with Fixed Fingers
 
Slurs with Fixed Fingers / With and Without Open Strings
Two Note Slurs with Triplets and a Second Part
LH Trill Exercises and Embellishments
 
Slur Exercise Taken from the Guitar Repertoire Tarrega, Variations on Paganini’s “Carnival of Venice”
 
V. Tremolo
 
General Practicing Methods
Preparatory Exercises with a-m-i
Tremolo Exercises on One String
Tremolo Exercises Coordinated with LH Exercises
Tremolo Exercises on Various Strings
 
VI. Flamenco Techniques
 
Rasgueado Technique
 
Rasgueado with One, Three and Four Fingers
Rasgueado with Thumb and Fingers
Pulgar Technique – The Special Thumb Technique in Flamenco
 
 
VII. Supplementary Technical Exercises for the Left Hand
 
Shift Position Exercises
 
Preparatory Shift Exercises
Shifts Resulting from Finger Motion
Direct Shift Exercises
Indirect Shift Exercises
Chromatic Scale on a Single String
Left Hand Independence Exercises
 
Exercises for Leaving the Fingers on the Strings
12 Independence Exercises on Two Strings
Four Examples for Practicing
Independence Exercises for the Left Hand on Two Strings (Alternating Two Fingers)
Rhythmic Variations on Exercise 15 (“Two Against Three”)
Strength and Independence Exercises
Barre Exercises
 
Barre Exercises According to Llobet
Stretching Exercises for the LH 2Eｓ Thirds, Sixths, Octaves and Compound Thirds
 
 
VIII. Additional Technical Exercises for the Right Hand
 
Tirando and Apoyando Exercises
 
Tirando Arpeggios Alternating with Apoyando on Two Strings
Tirando Arpeggios Alternating with Repeated Notes in Apoyando
Alternating Tirando and Apoyando
Thumb Exercises
 
Aguado Study
Simultaneous Attaking and Muting with the Thumb
Coste Study op. 38, No. 23
Exercises to Help Avoid Nail Noise
 
Pizzicato Exercises
 
Pizzicato Exercise with Thumb and Index Finger
Pizzicato Exercise with Thumb, Index and Middle Fingers (Three Part)
Harmonics Exercises
 
Natural Harmonics
Artificial Harmonics
Alternating Exercises with the Pinky and i-m-a
 
Alternating Exercises with Fixed RH Fingers
 
 
IX. Practicing Playing Fast
 
Speed and Relaxation
Practicing Playing Fast with the Right Hand
 
Pure Reflex Development with Double Dotted Rhythms
Achieving Speed by Playing with the Outside of the Nail
LH Fingers “Sloppily” Placed on Purpose (Without Pressure)
 
Taregga Exercise No. 7
 
X. Exercises for Perfecting Musical Expression
 
Vibrato Technique
 
Sequence of Motions for Vibrato in the Left Hand
Rhythmic Vibrato Exercises
Exercises for Developing the Flexibility of Hand and Fingers
Vibrato Exercises with Two or More Fingers
Vibrato Exercises with Barre
Exercises for Practicing Dynamics
 
Developing a Broader Dynamic Range
Exercises for Fine Tuning Dynamics
Carcassi Etude op. 60, No. 2 in A Minor
J.S. Bach: Four Part Chorale “Wer weiß, wie nahe mir mein Ende”
Anton Diabelli: Sonata in C Major, Andante sostenuto, 14 Bars
Exercises at Different Dynamic Levels in Two-Part Harmony
The Arpeggiated Chord (Rolled) in a Polyphonic Chord
 
The Elastic Wrist Attack in Dolce Cantabile Playing
 
 
Part Three: Important Topics
 
I. Fingering Technique
 
Fingering and Interpretation
 
Left Hand Fingerings
 
1. Tension and Release
2. Incorporating Harmonic Reasoning when Developing LH Fingerings
3. How to Use an Open String
4. The Open String in Scales
5. Analogous Fingerings
6. Jumping with One Finger
7. Special Issues with Fingerings Including Slurs
8. Shifting by Contracting 1 and 4
Right Hand Fingerings
 
1. Basic Fingering Rules for the Fingers of the Right Hand when Crossing Strings
2. Special Issues Regarding RH Fingerings on the Bass Strings
3. The Patterns p-m-i, a-m-i and p-a-m-i
4. Arpeggio Patterns Applied to Scales
5. Repeated Notes with a Single RH Finger
6. Combining Different RH Arpeggio Patterns
7. Using a-i on Neighboring Strings
8. Special Issues when Using RH Fingerings in a Musical Context
 
II. Tuning the Guitar
 
Simple Tuning by Comparing Neighboring Strings
 
Tuning Using Harmonics and Octaves as an Aid
 
 
III. Playing from Memory – Memory and Mental Training
 
Playing from Memory
 
Memory Training
 
Associating Different Areas of Memory
Different Memory Training Methods
Mental Training
 
 
IV. Stage Fright and Fear of Performing
 
 
V. Technical Practice Guides for Daily Practicing
 
Short Technical Practice Guide – about 45 Minutes
Compact Technical Practice Guide – about 90 Minutes
Intensive Technical Practice Guide – about 3 Hours
 
TIP Directory
 
Bibliography