The basis of the Segovia technique is (rest stroke) scale playing, as compared to, say, Giuliani, which was (free stroke) arpeggio playing. The purpose is to even out the sound, i.e. the differences between the fingers and the constraints in the hands. Segovia advocated 2 hours a day. These days, no one has that kind of time, so we had to look down there and make the constraints work for us, rather than trying to even them out with 2 hours of warm-ups. There is lots about this on the forum, search for release & exchange.
Segovia's fingerings themselves are based on violin technique, namely big shifts. Segovia's mission was to elevate the guitar's acceptance to the conservatory level and he borrowed heavily from the violin, with its 250 year tradition. However, the violin is much smaller than the guitar and what would be an easy shift on the violin is a big leap on the guitar. There is also the issue of the shift on the leading tone, ascending and descending, not musical. They served their purpose.
The main thing is to have a fingering that is so ingrained that you don't have to pay attention to the left hand, because scales are a sound study and your attention should be on the right hand. If you are learning release & exchange, they are probably way too busy for that. But, in general, they work okay.
My teacher published another set of fingerings based on putting the shift on the side of the hand in the direction you are going, that's interesting. You can order it from GSP, he posts the lessons from his books free here http://www.richardprovostguitar.com/tea ... d-provost/
. Lots of people use his ideas, Tennant, Barrueco, York, those guys.
When I was coming up, though, we played the Segovia. So, what do you do with the fingerings. At the 1968 Segovia class. Jose Tomas, Segovia's top protege (who never left Spain, hated to travel), handed out these scale rhythms to practice, q = 60, resting heartbeat. Here you go, the famous Segovia C-scale --
Segovia-Tomas Scale Practice Rhythms
They aren't special, all the instruments use them. Play them as a continuous piece of music, without pausing between. When I teach these, I start with the four sixteenth notes half-speed, then add the other sixteenth note rhythms, 2x, 3x + 1, 1x + 3, to establish strict alternation. And playing four notes gives you time to set up the left hand. Once that is established, ingrained, I start at the top. Remember, scales are a sound study, and where does the sound come from? That is correct, the right hand.
Happy fingers to you!
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Kevin Collins, Amherst, Mass, USA All rights reserved.