Blondie wrote:brianvds wrote: I have been practicing that bit for almost a year now and can still not get it right. Thus I see long hours of very frustrating practice ahead...
Yep, that's what is going to happen unless you do the one thing that no-one seems to be advising - get a teacher! You need one-to-one help with this to get at the root of your problems. Even if you have to travel, its worth it to sort out basics. i used to make a two hour trip for flamenco lessons and would happily do the same again if need be.
The idea of hacking away at one shift for a whole year and getting nowhere is just such a depressing waste of time and if anything is probably doing you more harm than good as you are inevitably practicing the same incorrect technique over and over. Practice makes permanant, not perfect - you have to study intelligently to troubleshoot problem areas and if you hit a brick wall, get expert help.
Alas, I cannot remotely afford it.
You are of course right that practice makes permanent. I try to avoid this by not just practicing the wrong notes over and over. What I do with that difficult shift is to slow down as much as necessary to get it right, and then I practice it at that slow speed over and over until I can consistently get it right at that tempo. Then I slowly increase the tempo. Well before I reach the correct tempo I cannot get it right anymore. Or after a day or two of work on it I get it right, but a week later I am back precisely where I started again. Part of the problem is perhaps simply that I have very little time for practice - with or without a teacher I am not likely to ever progress much beyond lower intermediate level, because I am lucky if I can get as much as half an hour per day for practice.
All the grief you have with barre chords for so long as well...a teacher really is the only sensible option, you owe it to yourself. Just reading your posts about the Sor B minor study, I will bet that you are trying a to hold a barre where you don't need to for example, which is just one thing making that study harder than it needs to be.
I am using an edition with fingerings by Frederick Noad (and it includes tab, just to avoid any possible confusion), so I am probably not doing that part all that far wrong.
You seem convinced its all about strength and stamina in the right hand, well at advanced level there is some repertoire that demands a little of that, but it builds on getting the basics right. Finger independence is certainly a factor, you are right there, but the harder you squeeze the more independent control becomes compromised. Tension is the independence killer.
So I noticed. As I mentioned in a previous post, the bit of advice about first positioning the non-barre fingers and leaving the barre for last seems to help quite a bit, partly because it removes the tension and makes it easier to move the fingers independently. But I haven't investigated this much - due to job responsibilities I have not had any time to practice at all for days on end now.