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Classical Guitar Lessons: Segovia Scales - JV's Chromatic Scale

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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.
And this would really help you know, it's,
it's one thing to train the,
the fingertips to stay close to the
You know, about you know, an, a half an
inch away from the string.
Certainly no more than an inch is what you
should be shooting for.
But it's another thing to do it with a
chromatic scale because as especially as
you peel off the fingers, as you're
descending the scale,
the tendency is for the fourth finger to
fly out
to fly away from the finger board
certainly more than an inch.
And I, and I know a lot of you know what
I'm talking about.
So so I just, I would add this scale to,
to sort of raise the bar a little bit to
challenge myself a little bit.
So, here, here's the fingering for that.
I'm gonna, I'm gonna first speak the
fingerings while I'm playing.
Zero, one, two, three, four, zero, one,
two, three,
four, zero, one, two, three, four, zero,
one, two, three, four.
One, because, of course, we have
Went from third to second string, so zero,
one, two, three,
four, one, two, three, four, zero, one,
two, three four,
shift, one, two, three, four, shift, one,
two, three, four.
So, and then back down.
So here we go, I'll, I'll not talk I'll
just play and you can watch.
I'll go very slowly, at first.
And a couple challenges to look for.
Look, things to look for is when the four
releases to the three.
See how close you can keep the four,
fourth finger to the strings so
that it doesn't fly out.
That's the, the more you're able to
control that,
the faster you'll be able to get your
scales in the left hand.
For a variant on that finger you can go
four, three, two, one, four, three, two,
one, cross over to the second string here
Play it four, three, two, one here.
[SOUND] Use the open E to shift back down
and continue on your D sharp downward,
like this.
That's a left hand fingering variance on
that scale.
And here we go.
Let's try it a little bit faster.
And that was with my alternate fingering.
And I'll do it with the the first
fingering I gave you.
[SOUND] Some of you may find that it's
easier on the shift part when you're on
the first string.
To keep, it's easier to keep the legato
sound, the smooth sound between the notes
as you shift,
but harder to do it as you come down.
as you come down the string.
I'd always, it was always harder for me to
keep the legato sound between the notes
on the descending part of the scale than
it was to do it on the ascending.
So there's some players I've I've trained
I've noticed in this it was easier for
them the opposite way.
So its just kinda nice to tell, to notice.
One other thing about scales I may have
mentioned this in a couple of
the other videos.
If you have a tendency to use the thumb as
a kind of a brace, that's fine.
I think it's okay to have the experience
playing scales for example C Major
As you can see with my thumb on the sixth
string as long as the thumb is very light,
as long as it's not pressing into the
sixth string and
you're using it as a counter balance, or a
force an opposing force to the I, M.
Cuz if you, cuz if you are doing the
it can make your right hand very tense.
As long as the thumb is very, very loose,
just like like the weight of a feather.
I think it's okay to, to,
to do that once in a while.
But for the majority of your practicing of
your scales, I'd say 90% of it,
you really should try to not have the
thumb bracing or resting on any string.
Because that will put the onus, if you
on the alternating fingers whether they be
I M, I A, or M A.
Particularly with M A I mean, there's
nothing, there's nothing gonna be
better than to help strengthen the
alternation independence of M to A.
Then taking the thumb off of
the strings below and
really just putting all of that
work onto M A, like this
Very good thing to practice.
Especially in that, practicing scales
between M and
A will in turn also help your
your PIMA arpeggio.
Or for example, in the Giuliani study
in the curriculum, the one that goes
this study right here.
And also Villa-Lobos's etude number one,
which has an A M A alternation at the top.
So practicing scales just with, with these
different combinations, and
without the thumb resting or bracing on a
lower string, is very good for
their, for your training of their
So that's scales, and, thank you very