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Classical Guitar Lessons: Giuliani: 120 Right Hand Studies No. 4, 5, & 6

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here we go, part two.
Two or three more studies.
I'm not gonna take you through all of the
120 right hand studies.
I'm just gonna select some that are that I
think are really important and
And, but I encourage you to do them all.
They are also grouped in a very nice,
organized, manner in Scott Tennant's
Pumping Nylon book.
So, at the end of that book, you can find
them in these nice, neat,
orderly groups that, that group them into
more similar the more similar techniques.
So, the, the, the next, two or three for
this lesson are number four, five and six.
So, this gives the, the right hand a
chance to travel up the string.
Number four, what I noticed about this one
is that it's kind of a tight grouping,
on consecutive strings, on adjacent
strings, excuse me.
And then those, that, that three string
group moves up and down by string.
And so you should have that, a picture of
that, as you're playing it.
Again, I'll play it first with sequential
And then I will take off the sequential
planting, if you will, and play it
with my sweep stroke, a free stroke that
does not have any planting on it.
But first, the sequential planting.
And now with the sweep stroke.
You'll notice that in my left hand,
I'm not putting down the chord shapes all
at once, all the fingers for
the C major chord and then the D dominant
seven chord all at once.
I encourage all my students when I teach
these, and, and would for
you as well, to actually place the left
hand fingers only as they are needed.
You'll notice that if you do enough of
these studies that actually each left hand
sequence is like each study is like a
They're all unique because of the order of
the notes.
And so each one actually requires their
own specific left hand sequence.
For example number four, the one I just
played, if you watch my left hand.
You'll notice that I didn't
put my forth finger down on the D
until the moment that I needed it.
That makes this, these actually some
left-hand exercises too at the same time.
For example, the, that, that placement of
the four on the G dominant seven chord,
depending on what arpeggio you, you, you
play, it may come down earlier in study
number 27 just depending on the order of
the notes.
So that's another nice, nice thing I think
about these, you can play,
you can practice them without any left
hand placement at all and
that's perfectly fine, but there is an
added benefit to
actually figuring out the sequence of the
left hand for each individual study.
Let's go to number five.
Number five is basically the same as
number four, but, kind of in reverse.
So, M, I, P, instead of P, M, I.
Again, first with sequential planting, and
then with the sweep stroke.
And now with the sweep stroke.
And in number six, you'll see here, the
challenge here is that the,
there is an I to P exchange happening on
the same string.
So that for, for example here in this
first beat, [SOUND] this, the,
the three note sell is P,M, I, but in
order to move that up one string,
there's a repeat of that, that E played on
the fourth string, which makes for,
for a, an added, a sort of a new wrinkle
in this, in this one.
I really like this one.
You may notice that one of, that some of
those notes are really staccato,
really short.
It's because of that repeated E that, if
you apply your sequential plants,
as [SOUND] as you're sequentially planting
your thumb, after the I.
[SOUND] It produces a staccato note, so
that's, that's why you hear that,
you should hear that shortness of, in
number six of the, the third eighth note
of beat one, the third eighth note of beat
two, so on and so forth, when it happens.
Then, of course, when you take your
sequential plan off and play with sweep
strokes, you won't hear that short note
anymore, because you're playing legato.