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SECOND EDITION,PUMPING NYLON,The Classical Guitarist s. Technique Handbook,Author s Preface 6 The Right Hand 58. Tone Production 58,Editor s Preface 7 Nail Length and Shape 58. Nail Length 59,Some Do s and Don ts 8,Nail Types 59. About the Hands 8,Shaping the Nails 62,About the Body 9.
Angle and Placement 62,About Holding the Guitar The Triangle 10. Rest Stroke Apoyando 63,Footstool Alternatives 10,Position 63. The Left Hand 12 The Movement 63,Finger Placement and Accuracy 12 Planting 63. Pressure and Release 13 Pressure 64,Pressure Release Exercise 13 Release 64. Finger Exchange 13 Free Stroke Tirando 64, Ascending Slurs Hammer ons 15 Right Hand Finger Independence 65.
Descending Slurs Pull offs 16 Walking 65,Finger Independence 17 Variations 65. 1 17 Arpeggios from Tarrega s The Complete,2 18 Technical Studies 66. 3 Opposing Motion 19 The Thumb 68, 4 Horizontal Character Builders 20 Shaping the Nail 68. 5 Odair s Favorite Drill 23 Develop That Thumb 69,6 The Spider 24 Balance in Chords 70. The Barre 24 Balancing Act 70,Weight vs Pressure 24.
Flamenco Techniques 72,Being Selective 25,What Else Can the Thumb Do 72. Summing It All Up 25,Soleares Falseta 72,Quadrivial Quandary by Andrew York. Alzapua 73,A Four Voice Study for the Left Hand 26. Alzapua Falseta 73,Fanfare A Slur Study by Brian Head 28. Rasgueados 74,May the Notes Be with You A Slur, Study by Evan Hirschelman 31 Some Practical Applications 76.
1st Movement 32 from Turina s Sevillana 76,2nd Movement 36 from Turina s R faga 76. Giuliani s Left Hand Etudes Op 1 41 from Rodrigo s Concerto de Aranjuez. 2nd Movement 77, Daily Warm Up Routine 78 Scales Contol and Velocity 94. Left Hand Walking 1 2 3 78 Misconceptions About Speed 94. 1 78 Right Hand Velocity 94,2 79 Synchronization 97. 3 79 String Crossing 98,Ascending Slurs 4 80 Piecing Things Together 98. 4 80 Some Other Speed Aids 100,Descending Slurs 5 81 Rhythmic Variations 100.
5 81 Problem Solving in Scales 103,Triplets 6 81 Marking String Crossings 103. 6 81 Evolution of a Scale 104, Fixed Finger Exercises 7 8 82 Scale Study Double from the Courante. 7 82 Partita No 1 BWV 1002,Johann Sebasatian Bach 106. Right Hand Walking 9 84 Arpeggios 110,9 84 Full Planting and Sequential Planting 110. Two Finger Rasgueados 10 84 Giuliani s 120 Right Hand Studies 111. 10 84 Practicing Tips 111,Shapeshifting An Arpeggio Etude.
Tremolo 86,by Evan Hirschelman 130,Psychological Outlook 86. Shapeshifting 2nd Movement 131,Exercises 86 Didactic Doodle by Andrew York 139. Exercises 1 3 86,Afterword 142,Exercise 4 87,Performance Anxiety 142. Exercises 5 10 88,A Simple Deep Breathing Routine 143. Exercise 11 88,Practice 143,Lopsided Tremolos 89,Inspiration 144.
Chant by Brian Head,A Tremolo Study 89 In Conclusion 144. Chant Preparation 89, In the two diagrams that follow notice how the same principle applies to the left hand. The straighter the wrist the more Bending your wrist too much makes. dexterity your fingers will have it a struggle to play. As for your left hand thumb it s generally,wise to keep it positioned just under. your second middle finger This creates,somewhat of a vise and allows for an even. distribution of pressure throughout the hand,About the Body.
The body should also be in a relaxed state While seated try stretching your neck and spine upwards. towards the ceiling pulling your shoulders back slightly just enough to keep them from drooping forward. Now relax your muscles so that your body sort of freezes itself in that position This is a good state for. the body to settle into Your shoulders should not crunch upward into your neck Take a look at the. illustrations in the following section about holding the guitar. Now we will deal with moving two fingers and fixing two fingers The same principles apply here rooting. the two fixed fingers through to the back of the neck while keeping the two movable fingers as light. as possible You ll find there s more potential for strain here so take it slow and focus on the stretch as. you extend your fingers and then on the opposing motion as they pass each other Finally sustain the. second bass note as your next finger travels up to the treble and then hold the second treble note as you. switch to the bass etc,b 5 1 b2 6 1,b b3 2 2 1 2,4 b 4 6 b2. Shaping the Nails, Always use a file as opposed to a nail cutter to shape the fingernails of your right hand Nail cutters. leave the fibers of your nails with jagged ends even if you polish with sandpaper afterwards. Always file your nails with your fingertips facing you Position the. file underneath the nail at a slight angle and look down the surface of. the file This gives you the ideal view of the edge of the nail Try to. create a straight line as seen from this angle as illustrated on the right. Ideally the file will touch the edge of the nail evenly across its width. and fit securely underneath it without rocking around If the shape. of your nail is too round you will notice a rocking motion as the file. moves around the nail s edge, The line illustrated to the right will only be seen from this particular. angle The nail shape is not actually straight or flat It will still appear. rounded although possibly not as round as the fleshy fingertip. These ideas for shaping your nails are only suggestions There are many variations on the four nail types. discussed in this book While I have found that the corresponding shapes suggested here work well. consistently experimentation is encouraged Find out what works and feels best for you. Angle and Placement, In order to achieve a full or fat tone we must give special attention to the angle of the fingertips to the. strings Note that when the fingers are initially placed on the strings only the flesh makes contact The. nail makes its contact when pressure is applied The illustration below shows an advantageous angle. When a finger moves straight back into the,palm from this angle it is actually moving.
over a healthy portion of the string surface,as the string uses the nail as a ramp which. enhances the tone This angle however,creates a scraping sound on the wound bass. strings and should therefore be adjusted to,a straighter angle for playing on the fourth. fifth and sixth strings,Arpeggios from Tarrega s,The Complete Technical Studies. These are great exercises for developing your finger independence They involve standard finger. combinations in the context of awkward string crossings. Practice using free stroke with a full sound Wherever string crossing is involved make sure you prepare. the next note immediately after releasing the last. If you are one of the multitude of players who have difficulty playing a thumb rest stroke while doing. free strokes with your fingers this is a good opportunity to work on that technique. Take your time It is best to work on a few of these during a practice session and become comfortable. with them before moving on You don t necessarily have to play them all every day. m i m i i m i m a m a m m a m a,i m i m m i m i a m a m m a m a.
3 m i m m i m i m i m a m a m a a m a m a m,9 10 11 12. i m a m m i m a m a m i a m i m,13 14 15 16,Shapeshifting Track 8. 80 Vibrate,44 Vibrate,Evan Hirschelman,80 Vibrate,80 Vibrate. Let Vibrate,i m Vibrate,BIIi m 6a m i 6 6 6 6 6 6,BIIi m 6a m i 6 6 6 6 6 6 i m. BIIi 64 a m i 6 6 6 6 6 i,i m 6 ii m,BIIi 64 a m i 6 6 6 6 6.
00 i m 6 i m,BIIi 64 a m i 6 6 6 6 6 6 m,1i 64 a m i 6 6 6 6 6 6. warm and forceful p aa mp i,warm mand forceful i a mp. m m m i m i,i and forceful,warm a i i i a m,warm and forceful m a i i m a i i a m. i m a m i m m i m i,warm and forceful a i i,a m i i m a m m i. warm and forceful m a i i m a i a m,a m i m m i,m a i m i i m.
12 p p pp pp pp p pp pp,p p pp p p p p,p p p p pp p p p. p p no rit,a m i no rit,i m m i i rit,i m a i a m no m a. pp p p ii mm,i m a i a m no,a m i no rit,i m a m i m i. ppp pp melody notes stemspp down,pi pont pi tasto,14 p p tasto. pi pont p pi tasto, Let all notes vibrate except 5th 6th string p These melody pi tasto.
notes should not ring through each other In addtion 5th stringp melody notes that are. followed by a rest are dampened by lifting or using the backside of thumb. With this rest the composer is emphasizing that the previous bass note should be stopped. 2015 Dream Design Music BMI,www theguitarist net,SECOND EDITION. PUMPING NYLON,Easy to Early,Intermediate Repertoire. Audio tracks recorded at Penguin Studios Pasadena CA mastered. at Bar None Studio Northford CT, This table of contents is designed to help you use this section as effectively as possible Not only will it. give you an at a glance tour of what the section contains and help you find the specific piece you seek. but it will also help you find pieces that relate to the specific areas of technique you wish to study The. pieces appear in order of difficulty The categories of technique are shown across the top The boxes. checked next to a piece tell you which technique s apply to that piece The technique categories are. taken directly from the first section of this book Nathaniel Gunod. es e l k g,nd Fi W nc sts b,147 Preface os g a, 148 Glossary of Signs and Terms g gi ndin Ha ting t H s o lo d B d B. pe sce eft lan igh cal e r,r r em ho pee he,A A L P R S T C S T.
149 Different Strokes Tennant Gunod,150 Walking Tennant Gunod. 152 Opus 44 6 Fernando Sor,153 Bit o Nostalgia Scott Tennant. 154 Snowflight Andrew York,156 Crispin s Spin Omid Zoufonoun. 157 Estudio 2 Francisco Tarrega,158 Etude 19 Matteo Carcassi. 160 Opus 35 18 Fernando Sor,161 Sore Study Fernando Sor Scott Tennant.
162 Opus 60 18 Fernando Sor,164 Opus 60 24 Fernando Sor. 166 Malague a arr Scott Tennant,168 Etude 13 Matteo Carcassi. 170 Etude 7 Matteo Carcassi,172 Little L ndler Sk t Tennant. 174 Etude 2 Matteo Carcassi,176 Two Studies Francisco Tarrega. 176 Estudio 12,177 Estudio 3,178 Etude 6 Matteo Carcassi.
180 Etude 12 Matteo Carcassi,182 Opus 6 Studio 4 Fernando Sor. 184 Opus 35 19 Fernando Sor,185 Studio de Campanelas su unTema della Folia. di M de Fossa Francisco Tarrega,186 3 Pavans Luis Milan. 186 Pavan 1,187 Pavan 2,188 Pavan 3,189 Opus 44 8 Fernando Sor. 190 Opus 35 5 Fernando Sor,192 Slur Study Mauro Giuliani.
194 Opus 31 Le on XV Fernando Sor,196 Opus 31 Le on XII Fernando Sor. 200 A Pale View David Pritchard,203 Afterword,SNOWFLIGHT Andrew York Track 14. A lovely easy arpeggio piece this is one of 8 Discernments by York. Be very attentive to tone production, Take this opportunity to feel the independence of each right hand finger. Don t move your left hand off of any chord before the right hand finishes the arpeggio. Follow the indicated dynamics,i m i m i m i m,0 2 0 0 0 0. P mysterious dream like,SECOND EDITION,PUMPING NYLON.
Intermediate to,Advanced Repertoire, Audio tracks recorded at Take One Studios Freiburg Germany and. Penguin Studios Pasadena CA mastered at Bar None Studio Northford CT. This table of contents is designed to help you use this section as effectively as possible Not only will it. give you an at a glance tour of what the section contains and help you find the specific piece you seek. but it will also help you find pieces that relate to the specific areas of technique you wish to study For. the most part pieces appear in rough chronological order with exceptions here and there to avoid un. necessary page turns during pieces The categories of technique are shown across the top The box es. checked next to a piece tell you which technique s apply to that piece The technique categories are taken. directly from the first section of this book We hope you enjoy it Nathaniel Gunod. ce r In ng,D nge al in,a nc sts b,207 Preface s,io ding an ng. g g H t i t H s o l d d s u e,208 Glossary of Signs and Terms n. pe sce eft lan igh cale rem hor pee he hift asg,Ar A L P R S T C S T S R. 209 The Frog Galliard John Dowland,212 Fantasia 18 Luys Milan.
216 Fantasia 16 Luys Milan,220 Veintid s Diferencias de. Conde Claros Luis de Narv ez,227 Variations sur les. Folies d Espagne Mauro Giuliani,228 Variation I,229 Variation II. 230 Variation III,231 Variation IV,232 Variation V. 234 Variation VI,236 tude 11 Napol on Coste,238 Fantasia Original Jose Vin s.
245 Rasgueado Exercise in Sole Adam del Monte,248 Alzapua and Thumb Study. in Sole Adam del Monte,252 Inspired by Villa Lobos. Etude 1 Joe Diorio,254 Study 1 Carlos Rafael Rivera. 258 Plainte Brian Head,263 Concierto de Aranjuez,Cadenza Joaqu n Rodrigo. 62 Shaping the Nails Always use a file as opposed to a nail cutter to shape the fingernails of your right hand Nail cutters leave the fibers of your nails with jagged ends even if you polish with sandpaper afterwards

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