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Classical Guitar Lessons: Carcassi: Etude No. 19

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Carcassi Etude 19 is
very difficult etude to play,
to play cleanly mainly because
there's an, an interchange.
It involves a very difficult combination
of, of fingers, of course.
And any time you have an alternation
between M and
A in succession, like M-A-M or A-M-A.
Like this etude and Villa Lobos Etude one.
[COUGH] For most guitarists it's a, it's a
tougher thing to get really consistent.
So some things you can do,
some things you can do to help supplement
that is to.
Some things you do
to help strengthen or,
that flexibility between M and
A was what you just saw me doing there.
Where I just basically add a bunch
alternations to M and A,
all within the piece.
And I mean you can make up your own or do
as many or as few as you like,
but that can help increase the flexibility
between M and A.
Once that, that arpeggio in the right hand
starts to feel comfortable, though.
Another big challenge in this right-hand
like many right-hand studies, is the left
The left hand has to be very precise so
as not to pull on any of the strings,
either up or down in the chord shapes.
The more that the a string is pulled, for
example the second string if you're
pressing really hard the, there's,
the more likely you are to be pulling
strings closer to other strings.
And of course if I pull this second string
close to
to the first string,
you're not only in danger of
muffling the first string.
But it also makes the strings closer
together for your right hand,
creating an entirely well a slightly
different feel.
If your second string er, second string is
closer to your first string,
you will definitely notice it in the M and
A exchange.
So, [COUGH] with the left hand.
Nice thing is at the end of each each
chord shape or the end of each measure,
you get, you get a full measure of this,
of M-I-M-I-M-I.
That's a great opportunity to relax the
hand in check while you're practicing and
even in the act of performing, that your
left hand is really quite relaxed.
You could release a lot of tension in the
hand that way.
So as, so kind of in slow motion,
as I set up this chord that I walk too, of
as we've covered in other lessons.
Rather than trying to grab the whole chord
try to walk to that chord.
I have a few notes there to make sure that
I'm not pulling on any strings,
any of the strings downward with the
weight of my fingers.
And as I just [COUGH] mentioned in that
last example,
another thing that will help you is to
walk to chord changes as much as possible.
You can look at my fingerings in the
performance lesson.
Some of them deviate from the original
printed fingerings.
And they just make it a little bit easier
for me.
Sort of my own little stamp on that etude.
And you can come up with your own
It's different for, that kind of thing is
different for
different players depending on just the
shape of your left hand.
I do encourage you to find the left hand
fingerings that are most
comfortable for you.
Thank you.