Fernando Suarez progressive
study, Opus 31 number 3.
With each of the studies that I, I pick
for the, for the guitar school.
I like to have just something a little bit
different from the last one.
Sor Fernando Sor has also taken this into
consideration as well so
it makes my job a lot easier.
Number three is in six eight so just a
little bit of music
thing here but six eight should be felt in
One and a two and.
Sometimes people perceive six eight is
one, two, three, four, five, six and
they'll count it that way.
But you should get used to counting and
feeling six eight as a two beat meter.
Divided in three subdivisions, one and a,
two and a.
And it should have a nice, easy swing.
This piece being in D major you'll watch
for your key signature,
of course but has a, a new challenge of
having to damp more basses.
Bass damping, which is covered in another
video strictly on
the art of damping basses.
And why that's important is because with
there's a lot of open strings in D major,
of course you have your tonic,
which is the open fourth string, and your
dominant which is the open fifth string.
And if they're just ringing away they it,
it's kind of a messy sound.
And so in watch that lesson for, for bass
And the kinda bread and butter bass damp
that I cover in that lesson is,
is basically what you're gonna be doing
Where you play, if a previous measure you
A base and the next measure you have D.
You will first play the D bass and then
come back for the A.
Once again going from A bass to D bass.
And vice versa if you're going from D to
A, that looks like this.
And in that motion, because the strings
are reversed, once you play the D and then
you go to the A string.
You can play the A string and imagine that
you are playing and
simultaneously damping almost in one
You don't want to try too hard to make it
one stroke because of course the momentum
of the stroke will take you past the
fourth string, but
it's just something for you to think about
So you'll see a lot of that here.
That, that damp, which is, that style of
damp covered in that lesson on damping,
that should be roughly 80% of your, of
your bass damping strokes.
Also, keep your fourth finger relaxed.
We're going up in some positions here, so
in the very beginning, we seem
Lot of four two, four to two, again,
as covered in other lessons on left hand
placement and movement.
Try to, try to empty the fourth finger, or
relax the fourth finger off
of the fret rather than pulling it away
with the extensor muscles so much.
And also in this study, it's good to,
good opportunity to try to control that
fourth finger from flying around too much.
And that's it, here we go.
This is progressive study number three
from opus 31.