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Classical Guitar Lessons: Giuliani: 120 Right Hand Studies No. 1 & 2

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[MUSIC].
And so we begin this section devoted to
Giuliani's 120 right hand exercises.
These are incredibly important and
wonderful exercises for
the development of the right hand speed
and flexibility,
agility, and so on and so forth.
And the, I, I really believe that these,
along with some
right hand exercises and, and a pretty
healthy dose of, of studies
really makes playing guitar pieces and
compositions much, much easier.
And and although I, and I did a lot of
these studies most of them
growing up in Buffalo when I was studying
with my teacher Jeremy Sparks, in fact
he would often he would often assign ten
of them for
me per week and, along with a couple of
other pieces that I was working on.
And of course, at that age nine, ten,
eleven years old,
I wanted to just work on my pieces.
But if often if I didn't have those ten
exercises
mastered he would punish me a little by
spending the entire lesson working
only on Giuliani right hand exercises and
scales, and other technical things.
So which was very good for me to, a very
good message for me.
Otherwise if I had had my way, I'd only be
practicing pieces and would not have been
able to help develop the technique that I
needed to play those pieces.
So, anyway, here we go.
Here's number one.
And you just do two exercises in this
section, in this segment.
Number one and number two.
I think it's interesting that for a book
of arpeggio studies, 120 of them.
The first one is not an arpeggio at all.
And it's actually one of the most
important studies in the book.
So do not skip this one.
[LAUGH] Number one is really just PIM
together.
[COUGH] Played together.
And it looks a little bit like this.
[MUSIC].
So, I want you to notice a couple things
here
in this first exercise, that my, my thumb,
P, and
index finger, I, I do not stop their
forward progress.
I've encountered this a lot with many
students,
where they will try to
[MUSIC],
stop the motion,
the forward motion that their flexor
muscle is doing in a,
in a effort consciously or subconsciously
to miss the other finger.
I think it's much more that,
that can potentially introduce a lot of
right hand tension.
So, I always encourage I would, my
students and
I would encourage you to really just let
the natural path of the thumb stroke and
the natural path of the I stroke yo just
collide.
Let them run right into each other.
[MUSIC]
Like this.
[MUSIC]
Also in each of these right
hand studies I would encourage you to
first,
yo practice them both with sequential
planting,
and also with free stroke that does not
have any planting,
or what I like to call a sweep a sweep
free stroke.
So, you can even do that with this first
exercise.
It doesn't seem at first like you can, but
you're just basically playing.
[MUSIC].
And it sounds kind of funny, but
it's really good it's a really good test
to see the accuracy of your contact point.
Of, again the contact point is the point
at which the string meets both
your fingernail and your finger tip, and
is really, so
the essence of your sound is where the
contact point it is,
the point where the string meets those two
spots simultaneously.
And then, then perform the A two.
[MUSIC]
Free of the planting
a free stroke that does not have any
planting.
[MUSIC]
If you're not familiar with sequential
planting and of a free stroke, and
the, and the free stroke that is a sweep
stroke,
as I like to call it, they'll be, there's
a video,
a lesson on the difference of those two
things.
But we're going to basically I'll
demonstrate each of these studies with
both of those strokes.
The next one is number two.
And I'll first play this with sequential
planting.
[MUSIC].
Notice that in the sequential plant, that
as,
as the thumb
[MUSIC]
plays, at the moment the thumb plays,
simultaneously,
[MUSIC]
the I finger comes down and plants,
lightly, on, on its string.
So,
[MUSIC]
like this.
And then as I plays as the I flexor
executes the stroke,
the M finger then simultaneously, but only
in sequence.
That's, hence the title, or hence the term
sequential planting.
I'll demonstrate that once again, a little
bit slower.
[MUSIC].
You'll see that, even with the M stroke,
the cycle repeats itself by the M,
the simultaneous action of the M stroke
and
the thumb plant
[MUSIC].
Like this, then practice then take that
planting off and
then also practice the exercise with a
sweep free stroke, or
a sweep stroke, as like to call it.
[MUSIC].
As you perform the sweep stroke version of
the exercise, try to feel the sequence
of moves between P, I and M, but, but the
difference between that and
sequential planting is that it's, it's not
quite as severe.
You want to really use the sweep stroke as
an opportunity to make your right hand
feel as relaxed or empty, empty of tension
as possible.
[MUSIC]
[SOUND]
[MUSIC]