Welcome Mariano! I check in with the Spanish forum occasionally and sometimes submit my work there. You have a more active and larger group there in D04. I hope you can participate here as well.Mariano Martínez Gallego wrote:Greetings from the Spanish forum.
I encourage that we have little.
Thank you.Rick Beauregard wrote:Welcome Mariano! I check in with the Spanish forum occasionally and sometimes submit my work there. You have a more active and larger group there in D04. I hope you can participate here as well.Mariano Martínez Gallego wrote:Greetings from the Spanish forum.
I encourage that we have little.
I love it too John. I think I'll go back and listen to your interpretation and those of your mates from last year's D04 class. I almost have it learned and ready to record, but I broke 2 nails this week and my sound and execution suck right now.John Montes wrote:The Maria Luisa was one of my favorites from the D04 Lesson series. You can experiment quite a bit with different expression elements and make that one pop and sing. Makes me want to brush off some rust this weekend on that piece and play again
It sounds great John. I'm still having difficulty with that section in measures 14-15, which you and others seem to have no problem with. Funny how we all get stuck on some sections that others find easy, and others find easy where some stumble.John Montes wrote:I think my first version is still in archives, I don't recall uploading a 2nd more polished version after working with the piece a bit longer
Rick,Rick Beauregard wrote:Hello everyone. I am uploading an early audio take of Maria Luisa. Still more time to work on this and the other pieces, but I thought I'd get some feedback. My sound is aweful because my my m and p nails split, and I am not used to playing without nails. I will upload an undated version later this month.
OK, Eric had a good idea here for dealing with that pull off in measure 12 of the Carcassi Valse. But with a slight modification. Here's what I came up with that is starting to work for me. Starting with the arpeggio C chord in measure 11, with the first finger on the second string 1st fret, 2 on the E 4th string second fret, and 3 on C, 5th string. Then, leaving the 2nd finger on E as a pivot, move 1 to the F on the first string, 3 to the G on 6th string and 4 to the G on fist string. The key is pivoting off the 2nd finger, which as Eric pointed out gives the pinky something to leverage off for the pull off. Not easy but it works to get a clean pull off. Need to practice this move a couple days then I will have it. I hope. Thanks Eric.Eric de Vries wrote:Try these exercises:Rick Beauregard wrote: I think M12 is one of those spots where I need to invent an exercise and just repeat it over and over again to strengthen the pull or with the pinky. I'll let you know what I come up with.
G-F with 4 and 1 only on the first string. No other LH fingers fretted.
G-F with 4 and 1, also G with 3 but "supported" by putting 2 on B (5th string). That gives more power in the pinky!
Experiment also with the position of your left hand. Make the angle between arm and wrist 90 degrees, and stretch your arm a bit forwards. Now the back of your hand is more above the fretboard. [When your hand is under the fretboard/the neck, you got less strength]. I hope this is clear enough without pictures.