Continuing with Segovia scales.
Again, I'm not gonna take you through
every single key,
though you should practice these in all of
Basically going through the, the, the the
There's, there's really only about seven
or, I believe or
eight different fingerings that, that all
the 24 scales belong to.
So these are the ones that, that you know,
I recommend and
have in my juries at my programs, my
So here is E minor.
I'll demonstrate first with free stroke
and then rest stroke.
For another approach
to kinda help with the right hand,
if you, to bring your focus of
attention more to the right hand and
also to help train it for quicker speeds.
You can try, kind of a sequential planting
approach not unlike what we do with the,
with helping to learn the arpeggios, or
another way of practicing arpeggios for
the right hand.
It'll result, result in a kind of a funny
where most of the notes are staccato,
except for the occasional legato note,
which is the result of crossing from one
string into the next one.
So it sounds like this.
And, and once again, as mentioned in other
you can put your metronome on and it's a
great way to practice it.
I used to do metronome charts with this,
with, you know, 60, 65, 70, 75, 80, 85.
And, practice them at many different
Free stroke and rest stroke, and different
So I'll, here I'll do a,
I'll do an i-a rest stroke with this at
And and also,
be sure to go into
One and two and three and four and.
Eighth note triplets, and
and the 16th note subdivision as well.
So on and so forth.
And now let's go into F major.
Excuse me, this is F minor.
I just used a rest stroke for
that example but you'll want to,
again, use rest stroke and
free stroke for
your scale practices.
And, another thing again,
just we've reiterated in other things but
in other lessons with this,
but be sure to especially for you star,
you guys starting out.
Some of those techniques from electric
and from other types of guitar are not
really gonna translate well here.
You may find if there's a tendency to
to kind of use your first finger as kind
of a door hinge on the neck,
and to move the fingers around the weight
of the first finger,
that is not advised in classical playing.
Because the weight distribution among each
of the left hand fingerings one,
fingers one, two, three, four has to be
very evenly distributed.
So while you're practicing your skills
you'll notice that if you
are tending to hug the neck with the
inside of the first finger,
you will want to really not do that.
[LAUGH] Once again with F minor
It's okay if the inside of the, the finger
touches the neck,
especially down in the lower strings.
I actually advocate keeping a straight
a straight left hand wrist
for the lower, for the the,
the notes on the lower strings.
Rather than, you know, bringing the wrist
out in order to avoid touching the neck.
I think in the case of scales it's good to
practice both of those,
those approaches where you actually miss
the neck entirely.
But just know that once you get up to
the higher strings, the third, second, and
that you have plenty of room between the
hand and the neck.
And at that point you should lower your
thumb, lower being this way.
Bring the thumb behind the neck, you know,
down or, to where the lower strings are or
the center of the neck, rather at the,
than at this part of the neck.
So that your wrist then gets a chance to
straighten out and not be bent.
So that's one approach and then the other
approach, which I don't mind for scales,
is actually just keeping the wrist
straight for the whole time.
Which would mean that your,
the inside of your hand would touch the
neck to some extent.
then of course as your left hand fingers
travel up to the higher strings,
then more room is created between the
inside of the fingers and the neck.
And your thumb, left hand thumb should
Your left hand thumb should never stay
stationary on the back of the neck.
It should always be very very light and
moving around, to,
to help facilitate the the left hand