Why is that?dng wrote:I only agree with #1
not #2 and #3
Any classical guitar method books you recomend? My teacher started me on Aaron Shearer's method.Luis_Br wrote:Choose a good guitar method and follow it. A good method was already well thought by the writter, normally an experienced teacher. Start with first exercises and go on, probably will start playing open strings with RH alone.
All good things that a guitarist should first learn. But ear training wasn't something my teacher worked with me until I became more proficient with guitar.Erik Zurcher wrote:The first thing my teacher taught was ear training: how to produce a good tone. He filed and polished my nails first and taught me to produce tone on open strings without 'nail clicks'.
Hi MDevon, I understand very well that concert pieces must be learned properly and memorized and maintained.MDevon wrote: Thank you for explaining yourself. I can see your why that would help you out. So, I assume that you wanted to know the rhythm of a piece rather than just learning how the piece felt and then just learning by memory. Although, I still believe memorizing a piece should always be the end goal of learning a song. As long as you still know the rhythm of the piece and not going off muscle memory, if I understand what you said.
Now I understand what you mean. Yes, training to sight read and read from the score as a beginner student rather than being in a rut and repeating the same songs you already know is a much better way to grow as a musician.Hi MDevon, I understand very well that concert pieces must be learned properly and memorized and maintained.
But in my case, after 14 months I already had too many pieces learned by heart, and started to forget many. Moreover, when trying to read the ones I forgot from the partition it was almost like starting from scratch, the reading was so so slow and painful. But since I am a beginner, my goal is to learn to play better the guitar and explore music and I don''t want to spend my time maintaining the already learned pieces (at my level I cannot speak of any "repertoire!") For me the solution was to finally start seriously to learn to sight read music and play from the partition.
Memorizing purely the mechanical movements of the left and right hand without regard for the sound of the piece? Bad. Don't do it.tbon wrote: 2. Don't memorize, read from the score.
Re: item 2, sight reading ability is certainly important in classical music when compared to popular music (where it doesn't matter at all).tbon wrote:1. Take it slow.
2. Don't memorize, read from the score.
3. Don't watch the left hand.
Disclaimer: I am a student, not a teacher.
I share a similar background, but I find the ability to 'see' the whole sequence of chord shapes up and down the neck is actual a very helpful when working on classical music. To me it makes it easier understand the harmonies and chord progression of classical pieces.Chuck Cheesman wrote:Coming to classical guitar after 30 years of playing, the chord shapes get in the way sometimes. I will often grab the entire chord shape out of habit even if I am just playing two or three strings. It's an unnecessary and inefficient habit that comes from playing folk and rock music.
I completely agree here. No one seems to use rest strokes at all in the steel string fingerstyle world. I haven't even tried to learn them yet, but I really should. My habit of using free strokes for everything is very deeply engrained.Chuck Cheesman wrote:The hardest basic technique for me to conquer has been and continues to be rest strokes. Even playing steel string fingerstyle pieces I had never used this technique. So if I was going to teach classical guitar, I'd likely introduce rest strokes right at the start playing individual notes, maybe using familiar melodies. It seems to be a mandatory skill according to most classical guitarists.
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