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Classical Guitar Lessons: Segovia Scales - C Minor

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And so to close this segment on
the Segovia scales, there is one more
And it's the C minor, which corresponds
with the same pattern for
D flat major or C sharp major.
Major [SOUND].
T minor.
[SOUND] E flat minor.
Then of course [SOUND] once you get to
here it's E, and
then you have one of the three octaves
So practice all of those, those,
those four different positions with this
Just because every time you move up a
fret, the frets get a little bit smaller,
so there are some very minute changes in
the hands that,
that you should be sensitive to as you
move up position.
But here we go.
Here's C minor.
And again, I mentioned this in another
video on scales.
Generally it's accepted to you know, that
we should, we should train with
the left hand with scales not to touch the
neck with the inside of the, of the,
of the hand or the inside of the fingers.
And I think particularly this is, is, is
true because a lot of guitars,
especially if you guys are coming from
other some of you are watching this and,
and studying and coming from some of the
other schools on the Artist Works site.
There's a lot of playing that,
there's a lot of playing that we classical
guitar teachers encounter that,
that where the first finger is often used,
the index here on the left hand,
is often used as kind of like a, kind of
like a hinge, like a door hinge.
And which works really well for bending
and, and
stuff like that but, in classical guitar
technique it's rea,
it's really important to train each of the
four left hand fingers one,
two, three, and four to sort of be
autonomous and have a lot of independence,
and to and that the weight between them
is, is shared equally.
So yeah, in this, in this sense, it's good
to train the, the, the inside of
the hand the inside of the fingers not to
really be touching the neck, but
for some of you that will you'll need to
bring the wrist out a little
bit in order to miss, and that's okay.
It's all right to, [SOUND] to bring the
wrist out just enough.
And you, that's a little test you could
Bring the wrist you know, and that's done
with the, you know,
whether the wrist is out or in.
The thumb is actually kinda is a
determining factor there so,
if your thumb is by the lower strings
here, you're wrist will be flatter.
If your thumb is here, by the higher
you're wrist will be more bent.
So, for some of you, you will need to
bring the thumb this way to open to,
to bend the wrist a little bit in order to
have the hand clear the neck.
And, and this is a good thing to study.
Like this.
But I also advocate being able to and
practice and study this scale.
Allowing the inside of the hand to touch.
Not to hold on to it or to grip or, or to
use a crutch.
But just that its lightly touching so that
you can experience playing the,
the notes in the lower strings with the
thumb, where the thumb is
situated down by the lower strings, and
the wrist is straighter.
And while this may not be considered in
some circles as as a sound approach,
I I would refer you to none no one other
than John Williams who's
really one of the technically most assured
guitarists, I think, ever.
And a lot of times when I was growing up
in Buffalo, and we'd you know,
you'd watch a video of him, his thumb was
peeking over the the neck even.
And this was sometimes noted and even made
fun of,
but what I noticed from it was that his,
it kept his wrist very straight,
which gave it the mo, the maximum amount
of strength and leverage.
And so I think it's a good thing to kind
of study from that and
to learn from that that there is benefit
to it especially in something like scales
where you're not playing the first string
simultaneously I think it's okay to,
to have that experience of practicing the
Where you know, your hand,
the inside of your hand may be touching
the neck just a little bit.
Like this.
You can see how.
You can see how by playing that way and by
allowing the hand to do that,
by allowing the thumb to be more towards
the lower strings.
You can see how that allows the wrist also
to be very straight, and
in its greatest position of strength and
So here we go, that was just an, a side
note a little bit on mechanics,
issue there with the left hand.
But here's the actual pattern.
And rest stroke.
I thought I'd play that rest
stroke one a little bit faster for
you than the, than the free stroke.
Again as in the other lessons do many
repetitions on these.
And it's really helpful to do with the
You can strengthen your rhythm like I did
when I was growing up.
I used to play with these with metronome
play through the different subdivisions of
the pulse.
[SOUND] So let's say if I had it on 80
would make sure that I was playing the
scale in
eighth notes, eighth note triplets.
And and 16th notes.
Excuse me, my, my metronome just turned
off for a second there, once again.
And here would be the eighth note triplets
with rest stroke.
See now I was rushing there I was a little
bit ahead of the metronome so
I want to do that one again this time
really trying to play in the pocket
right on the head of the metronome.
That was better.
So, that's what the metronome can really
help you with is to,
to get a stronger sense of the pulse and
awareness of it and, and
the different subdivisions of the pulse.
So, no, no scale lesson of, of mine would
be really complete.
Without showing you my chromatic scale.
I would go through these seven patterns
many many years and then I would add a
chromatic scale
that went from the lowest note to the high
E and then back down again.