And now moving forward with
the Giuliani 120 right hand studies,
we have number 81, 84 and 89.
Continuing with this with the sixteenth,
four sixteenth notes per
quarter note sub-division, but, again, now
here the texture clearly changes and
we have a new set of arpeggios which get
progressively more difficult.
I'll just demonstrate these three to get
you going and
I encourage you to do all the others.
Again as in the other lessons in this
section on the Giuliani
right hand studies, the things you wanna
remind yourself as you're playing is keep
your, you know, try to stay very relaxed.
Think about your posture that we cover in
the lesson on posture and
holding the guitar and so that your back
muscles are relaxed, you're sitting
up straight, but not military straight,
just very relaxed natural back.
Your, your neck and your shoulders and,
and I encourage you,
of course, to use these to, to build speed
but in your quest for
higher speeds, be sure not to forget that
you should be able to keep your good tone
the whole time,
and all so good mechanics and efficiency
in the right and
left hands as well as just general relaxed
So, here we go, number 81.
I'll, I'll do this one with sequential
planting first in the first group repeat
and, then then the just the sweep stroke,
or the legato stroke, then in
the second repeat I'll do the set of
fairly slow temple just so you can watch.
See what it looks like and see what it
should feel like at 40 to the quarter.
Okay, and now I'll do, I'll play number
84, not with the sequential
planting that I demonstrated in number 81,
but with the sweep stroke,
the, the free stroke that is purely legato
stroke, no planting.
Again, notice that all four of my fingers
are following through.
Once the, once the flexor plays the stroke
they just follow through naturally,
I just, I basically kind of let the
sensation as I let the finger go.
And I try to think that just in terms of
mechanics that the flexor which the flexor
group which is here along that,
that moves your fingers in and thus
the stroke itself should really only be
employed to play the stroke.
And that the extensor muscles which are on
the top part of your arm here, which open
your hand and open your fingers, those
should be only used to return the hand.
There should not be a real combination of
those two muscles at the same time because
that introduces a lot of tension.
And continuing with number 89 this
introduces within this
particular sequence of studies, double
thumb stroke this right here this.
then there's a double I stroke at the end
in order to complete this particular kind
of arpeggio which you'll actually see in a
lot of in a lot of pieces in the 19th
century, particularly a lot of guitar
accompaniments with guitar and
flute and, and so on and so forth.
So, this is a, this is a nice a nice
challenge for and, and,
and it's easy to do the more relaxed your
right hand is, so let me do this with,
setting the metronome at 40 [SOUND] and
again, first I'll,
I'll play the sequential and then I'll do
a free suite.
Okay, and now, with a legato free stroke.
Oh I'll do this one a little bit faster
just so you can hear it at 50.
Another thing I just was just thinking
about that as I was playing that
number 84 was I've as I was telling you to
encouraging you to
sort of do the occasional body trip while
you're playing these as they become
more comfortable, you'll find that your
thoughts may wander.
And it can, they become seem sort of
mundane but you can use that as
an opportunity once the exercises become
very familiar to you to actually remind
yourself, kind of take this little body
trip and check your neck and your
shoulders and what not, and I found myself
doing the same thing with my jaw muscles.
I, I used to really tense the these
muscles in the jaw whenever I would
play years ago, 15, 20 years ago and I, it
took me a couple years to really work,
become conscious enough while I was
playing to let go of the tension
that I was holding i, in that, those, in
that muscle area.
Anything that you're flexing and holding
at the same time while you're playing,
you can actually use exercises as a
vehicle for releasing that tension and
it actually trains your body how to play
without holding, without flexing and
holding muscles, so that was just
that kind of popped into my head as I was
playing number 84.
It reminded myself about the the muscles
here in my jaw, so
and was able to e, relax them even further
while I was playing,
so the, that's, that's what these things
are just so wonderful for.
They get you back to, they get you back to
the basics of playing even for
very advanced players.
They're just, they're really refreshing
and, and wonderful to do, so enjoy,
and in the next lesson, I'll have a couple
of other Giuliani arpeggios for you.