Welcome to the club. I am also a member of this club. I am training myself to memorize pieces. Never did it before, but I cannot progress any further without overcoming the accuracy problem. I read music well, but you cannot read music and watch what you are doing at the same time. Moreover, there is an attention issue. You need to be able to play semi-mechanically so that your attention can circulate to the different issues that require attention: tone, left-hand placement and movement, right-hand placement and movement, rhythm, dynamics. It is called "practicing with rotating attentiveness " See Käppel's 21st century classical guitar technique, page 19. If you are already playing from memory, then practice rotating attention. I just started playing playing from memory. Right now I can only play one phrase (don't laugh, that took serious effort) from memory. Nonetheless, from being able to play that one phrase from memory, I am already able to address a lot of technical issues. Playing from memory is not that hard. But when you combine in with rotating attention and strive to make everything exact, it is very challenging. However, I am convinced it is the way forward.DaveLeeNC wrote:…I realized that (IMHO) a good part of that is the accuracy of placing LH fingers when playing.
I have/ did have this problem. I still do but I've improved over the last 3 months and this is down to sight reading and visualisation. I've been making an effort to do a bit of sight reading every day, just 10 mins, 15 mins max.DaveLeeNC wrote: But when these issues are at their worst is when I am headed for a given string/fret from 'somewhere other than an adjacent string or (within one) fret'. So maybe scales are not the best platform on which to work on this.
Yes, it helps me a lot. Other helpful thing in my case is teaching by Kevin Gallagher - The 3 Left Hand Positionsmarkodarko wrote:Start by playing some scales (doesn't matter which) using only hammer-ons and pull-offs. No RH. Play them slooooowly and as accurate as you can. If you mess up, redo that part until you don't.
That'll improve things immensely. Once you have some coordination with hammer-ons then you can move into doing paired finger movements but that should keep you going for a while.
I'd say concentrate/exaggerate playing on your fingertips. It's helped me recently & that's after hacking at classical on & off for many years. You(one) might think you're on your fingertips but they're probably slanted. If a string adjacent to the string you're playing is muted, it's most likely going to be because your left hand fingering is hitting it, just go back make an exercise with the problem & go slow until it rings clear. I realize this seems painfully obvious but it's a little thing that I've been concentrating on specifically lately & I've seen improvement in myself so I'm encouraged.DaveLeeNC wrote:In thinking about the many reasons that I am not a "good" classical guitarist I realized that (IMHO) a good part of that is the accuracy of placing LH fingers when playing. Sometimes they mute strings that need to 'ring'.
...which is another reason why playing only with hammer-ons was prescribed. You can't hammer-on properly unless you have "correct" and clean technique.acmost9 wrote:You(one) might think you're on your fingertips but they're probably slanted.
Thanks for the explanation. I was wondering what the point was.markodarko wrote:...which is another reason why playing only with hammer-ons was prescribed. You can't hammer-on properly unless you have "correct" and clean technique.
No doubt, I'm not saying otherwise...all good.markodarko wrote:...which is another reason why playing only with hammer-ons was prescribed. You can't hammer-on properly unless you have "correct" and clean technique.acmost9 wrote:You(one) might think you're on your fingertips but they're probably slanted.
Precisely the type of "non-thinking false practice" which Dylla cautioned against doing. 100% of his attention is on the mechanical motion of his fingers. "No man can serve two masters" was the quote he used.dtoh wrote: This type of practice is pretty boring so I usually put on a pair of headphones and watch movies while I'm doing it.
This makes total sense to me. But I do not see how playing scales will help. When playing polyphonic music, especially counterpoint, you often need to play one line of music on the first and second string and other line of music on the fifth and sixth string simultaneously. It is the nature of counterpoint that it is just as likely to move in the opposite direction as in the parallel direction. All the scales in the world will not prepare you for that. Better to play real music, no? It is when you are fingering or preparing to finger the first string, that it is really challenging to play the sixth string with the fingertips.David_Norton wrote:When Marcin Dylla did a masterclass here in Salt Lake in early October, he demonstrated what _HE_ means by slow practice: it was almost like watching a slo-mo film of a bullet bursting a balloon! With a new piece, he practices e.v.e.r.y. s.i.n.g.l.e. m.o.t.i.o.n. (of BOTH hands) with that degree of exactitude, over and over, until the motion is totally programmed into his muscles, into his memory, and into his eyesight. And in this manner, in very short time, sometimes less than a day, he will have a complex piece fully memorized and ready to perform. First time I have ever observed what true SLOW PRACTICING looks like.
Think we might be talking about different things here. One of the main reasons for not being able finger accurately is a lack of strength and flexibility in the LH. It's like lifting weights, you can concentrate all you want but that won't help you to bench press 250 lbs. Developing strength and flexibility is a lot of brainless repetition. It would be ideal to concentrate 100% while doing this, but honestly I think that would bore or exhaust me and many people to death and we would never practice.David_Norton wrote:Precisely the type of "non-thinking false practice" which Dylla cautioned against doing. 100% of his attention is on the mechanical motion of his fingers. "No man can serve two masters" was the quote he used.
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