This same debate goes on among non-classical players. I would think "where you land" might depend on what kind of goals you have. A musician who is primarily an instrumentalist would go for repertoire, I would think. A person who wanted to compose might go for technique to build up a toolbox for improvisation and composition. I'm sure there's a mix for everyone, but where you spend your practice time would vary based on goals, I'd think.Steve Langham wrote: ↑Wed Jul 19, 2017 8:45 amThe repertoire vs technique debate isn't unique to piano, you will find it here too. Some will advocate concentrating on repertoire, as per the previous post. And some will advocate technique, in order to lay a foundation of skills you can draw upon. It's up to you to work out where you land in this regard.
I think if you are working with Frederick Noad, possibly Bk1 Solo Guitar, you will see he discusses rest stocks and free strokes.That would be similar to what you were doing on the piano, with the sustain and dampening(mute) pedal.Or playing the keyboard notes staccato, or whatever. To me, that would be the answer to what notes should be muted or not.In the end, you will find some strings will just sustain or mute naturally as the part is written according to the note values and suggested LH Fingerings.It's really something you should not get too hung up about at this stage.Try not to pressure yourself now, by the comparing what you did with relative ease on the piano.
Agree with the other posters who say you're probably too early on to worry about this. Unless you're doing something in 1st position with a whole lot of open strings, the problem usually only involves open bass strings and in fact isn't a problem most of the time. Ironically, it's more of a problem with beginner tunes *because* of all the open strings.
Thanks for the response, this is one comment that hits closer to home for meCactusWren wrote: ↑Sat Jul 29, 2017 3:54 pmDon't do Kitharalogus. That's the equivalent of doing worksheets in school. It's busy work. Any guitar method would be better--Sagreras, Shearer, Noad, Duncan, Romero, Aguado, Yates, the South American schools--anything. There will be plenty of exercises and etudes that are much more selective and effective. Kitharalogus might be a good idea if you intelligently combined it with graded repertoire and had an expected lifespan of 150 and no job or other responsibilities and you knew your body wouldn't get RSI or focal dystonia. It is the Hanon of guitar and similarly a time-waster, of great use for burned out teachers...
You don't actually need exercises for the most part. Instead of learning whole pieces, pick digestible chunks (maybe what you can memorize in a few minutes) and just repeat those for 15 minutes or so until they are perfected. Do this several days in a row until the state of ease comes up when you pick it up cold--now it is mastered. Practicing this way will make sure you're getting the maximum benefit from each lesson instead of just rushing through the material and ending up half-assed like most players, in the eternal intermediate state.
In the guitar, muting is very important usually ignored, so your sensitivity to the ringing notes is a good sign. The first priority is to mute basses so the harmony is clear. Probably you should place more emphasis on playing the treble notes cleanly and with good technique rather than moving the hand around a lot to mute, but by all means do it if it's easy. And if you can't stand the effect of unintended overlapping sounds, then do what you must to satisfy yourself!