I am used to using slides. This whole shift thing is new to me.
Thanks for the explanation Celeste.celestemcc wrote: ↑Fri Mar 22, 2019 11:17 pmIt may look weird, but it's standard. I'll state the part you already know: one reason you do scales is to learn the fingerboard, position work and shifting, which is necessary to move around on the fingerboard. In this case, the player is going to the fifth position (eg, starting with the 5th fret, 1st finger). For the record, they're shifts, not slides -- yes, a necessary technicality, because a slide implies holding a finger down on a string. In a shift you don't keep any fingers down but your whole hand does move to the required position. I know it appears inefficient; but being able to shift seamlessly across many frets, position to position, is an important part of technique, a necessary skill that you're going to need to know how to do. Sometimes in a piece you might find you have to shift from, say, 10th position to 3rd across 2 beats, and there's no good alternative fingering. Sometimes shifts will be less extreme, but often as not those shifts actually let you play more efficiently in the long run.
I didn't hear any inconsistency except for the fact that because it's a first position scale there are open strings and closed ones which do have a different timbre, but the shift was clean.
In the long run you can find many exceptions to the "rule" ultimately, but you still will use shifts more often than not, so best to just dig in and get used to 'em!
It's all about old-school ideas based on the Segovia scales. Modern classical guitar has moved past this old way. Get Matt Palmers book on ami 3-note-per-string scales or watch lessons on ami scales on Tonebase and YouTube. Shifting to the closes note is more sensible unless you want a glissando or special effect. This is what most all of the young virtuoso guitarists are doing now.
Hello ChristopherChristopher Langley wrote: ↑Fri Mar 22, 2019 10:21 pmWhen playing scales, why do classical guitarists do large position shifts with what seems like rather awkward fingerings?
Would it not make more sense and sound and feel more fluid to play the notes with the fingers closest by, instead of with the fingers furthest away?
It is pretty rare for a piece of CG music to be nothing but scales. If it is, in fact, your final goal in life to play 2-octave scales at supersonic speeds, then by all means try to minimize position changes.
+1The moral of this story: Use your whole palette. Be prepared to play them a variety of different ways!
Oh, OK! Understand your point about the RH fingerings, yes, and point well taken. I was focused on LH.Yes, I agree. The Segovia scales help teach shifting.
Shifts cannot be avoided. They are all over the guitar repertoire. Marco Tamayo writes in his book Essential principles for the interpretation on the classical guitar that shifts should always be performed slowly and without tension, even in fast passages. And they should always include a gliding (glissando) finger. It is not necessary to play the glissando, but I find it helps train the hand to move slowly and securely. When you have that down, you can lift the guide finger slightly so that it wil not sound the in-between notes. In the same book, Marco gives rules about when to shift so that it does not disturb the rhythm.
I think the OP is referring to him as such out of respect, as the player in the video is Mr Delcamp himself, and we are here discussing such things on Mr Delcamp's forum.RobMacKillop wrote: ↑Sat Mar 23, 2019 7:10 pmI would not personally play with one scale fingering. There are many ways to play a G major scale, and you should explore them all. Each one will give you technical encounters that, once mastered, will be of tremendous benefit. The player in the video is fairly competent, but I wouldn't refer to him as a maestro (for the record, I don't regard myself as one either) and there are many, many more technically-gifted players out there.