@@Thisisclassicalguitar I'm up to around 100bpm playing this. How long did it take you to play at 177bpm? I also find it extremely hard to keep my right hand in time with the easy bit! The bit that goes from the 12 fret chord all the way down. Should be so easy but my right hand just goes 🤷♂️🤷♂️
as a suggestion by Adam del Monte, I use this piece as a daily warm up exercise.....I was using 2,3 on Em ...But l think 3,4 is better especially when going to the "B7-ish" shaped chord. It's helped me...people love this tune...even when played Slow by a slow player like me---lol
I use 2,3 because that gives me support, like a balance center for when the text changes to the next chord (way less stamina wasted on changing left hand fingers.)
I subscribed to your channel af few months ago, and it's amazing! I'm an adult learner in my twenties who quit playing guitar 10 years ago. I still have a video of me playing this etude at 13 years old but I can't do this anymore! 😟 Currently I'm working on Giulliani's and Sor's progressive etudes to get my technique at the level it was when I was in middle school. Your videos are helping me so much, and keep me motivated! When I've got my technical skills back, I'm going to message my old teacher at the conservatoire to start lessons again 🙏🎸
Thanks for watching! Enjoying my videos? LIKE and SUBSCRIBE to help my channel grow! Need more help? Check out my videos courses with books: www.thisisclassicalguitar.com/classical-guitar-online-courses/
Dude! Thx for these videos. I've been playing this Etude since around 2000 and I was still able to pick up some new concepts from this video. As a guitar teacher, and especially having two current students working on this, I appreciate the way you go through each of the concepts that are supposed to be gained from doing this etude. As I'm sure you won't mind, I'm suggesting to my students that they follow you and consider some of the advice that you give us. I've seen other videos of yours and I must say, I'm pretty impressed with the high level of effort that you put into your lessons. Much appreciated.
Everybody plays this etude amazingly fast, but it sounds nice slower as well. I will never be able (I think) to play it very fast. But I get the hang of the righthand pattern and the chordschanges are working out better after practice. The m and a finger are not able to keep up when playng faster. I guess the're just not as strong as the others.
Thank you for this video, I've been struggling with this piece for very long time, especially with the playing hand. It will be helpful to watch you play the entire piece.
13.52 the problem can be overcome by playing the B on the 4th then G on 3rd . If you stretch this with 1st and 2nd fingers the rest is easy 12th fret. I do like this tutorial. Villa lobos is good for just following chord shapes and therefore very easy to memorise
This is Classical Guitar I think you're setting a great example for keeping a running commentary going through a piece of music and thinking about the implications of each movement. Hope you're having a great summer!
Thanks for this wonderful tutorial, I've committed to play this in a month's time and I'm a lot more confident doing it with the help of your past self haha
The E minor arpeggio to scale run. Can easily be played. E minor open position. Move up to the 7th fret. E minor. Here you're gonna use 4. 2. 3. And one. Strings. Or BG. E. B Then the G at the 12th fret with your third finger. And the E at the 12th fret. First string. With your second finger. This leaves you set up now to do the entire run with your first and second finger. Just simply hammer on. 11 to 12 on the 1st ring. 11 to 12 on the second string. 11 to 12 on the third string. Z 8 to 9 on the third string. 8 to 9 on the 4th string. 9 to 10. On the fifth string. 6 to 7. On the fifth string. 6 to 7 on the six string. Two to three on the six string. And of course, now your F# Bar isn't perfectly in place. This piece is meant to be played smoking fast. If you listen to it and water the Fernandes. For Norbert Kraft, play it. You get the idea.
Sorry for the voice to text mess. In my opinion. All of the Villalobos works. Can be broken town down too. Bach meets 20th century impressionistic music. You know what to do in the box sections that are extremely melodic. The 20th century impressionistic stuff. Needs to be played more impressionistically. And in some cases, extremely fast. To get you through the lack of melody. And to be more impressionistic. With tempo. In Volume. Most importantly. Is to not. Squeak your left hand. When playing the chordal plaining parts.For example Prelude Number 2. Starts on the F#. Major chord. With the B&E String Open. Then moves all the way up to a D chord. The only way to really get rid of the squeak is to let go of the wound strings. Or bass strings. This can easily be done by using your second finger on the G string as your guide finger while you move up the neck. If you play it slowly, it's going to be a drag. If you play it fast. I mean super fast. You can get the base. Root 5th. To be 1 sound. And the 4th through 1st strings. To be a different sound. Of course I would vary the tempo. And volume. The preludes are so beautiful. And you have to find the beauty in the preludes, especially the 20th century impressionistic parts. Listen to Eduardo Fernandez play. Etude number 2. At that speed, it sounds gorgeous. You could slow it down. But these are etudes. Studies. Getting you ready. Of course, if you listen to John Williams when he's a little older. He plays it fantastically. I don't know if anybody's ever done it as well. Julian Bream is so macho and so powerful and just rips through some of these pieces. I used to question it now, I love it. Good luck.
Of Of course I'm being very ambiguous. Eduardo Fernandez plays Etude #2 masterfully. And John Williams plays. The preludes. The best. Of course you have to find his newer renditions when he say 50 plus. An Julian Bream. Wow, what a powerhouse.
Inreresting that, watching Segovia play this, he appears to play his first Em with middle two fingers reversed, 2nd on the 4th/D string, 3rd on the 5th/A string, and is able to move into the second section without lifting his fingers.
Yes, I considered that fingering but couldn't bring myself to recommend it since it is a bit weird. I also, personally, don't always like compromising solid positions and fingers and would sometimes just prefer to focus on a good shift and finger exchange. But of course, it totally depends on the situation.
Thank you for a great lesson. I first learned this piece back in the early 1980s, and it's fun coming back to it, but I do have a question. Almost everyone I've heard (including me, 40 years ago) plays this piece as fast as they're physically able, but the Max Eschig edition has the tempo "Allegro non troppo", which suggests a light, relaxed pace, rather than the hyper-fast Agitato feel most guitarists seem to give it. Does the facsimile also have this tempo indication? And has your performance preference changed in the 7 years since you made this video?
I notice you also have a double jointed thumb also know as "hitchhiker thumb". Does this cause you any problems with left thumb placement on the neck of the guitar?
Hello, I've been a fan for along time and have a couple of your books, but I cannot hit the G# note without risking serious consequences with my arthritis. At 62, I am going to play as long as I can. Should I bring that chord to the second position?
For those of you who have the same trouble. I'm playing an E7 / G# ( first position ) and it fits. I tried a diminished (4th pos.) first since the piece is loaded with diminished chords, but it didn't sound as good as the b7, and my sub works with the right hand picking pattern and keeps the bass line intact. With my arthritis and small hands, I am having to make a lot of these types of decisions lately. Thank you Bradford, I would be lost without you 😁
If you are certain your posture and hand positions are optimal then an edit to the score might be the solution for you. I'm assuming if you are attempting this work you are fairly advanced so this lesson might not be of help but maybe there are some reminders in there anyway: www.thisisclassicalguitar.com/lesson-left-hand-stretches-on-guitar/
The way you play sounds very good. Not robotic as some versions I've seen. Although it is a classical guitar etude and as such, we should respect the proper technique, there is no reason to not play with some swing, groove or feeling if you know what I mean. Every music has its dynamics and you played very nicely, applying the rubato. Also, your guitar sound very nice and clear. Is there a video of you playing the whole piece? (sorry for the bad english). Regards.
Hi I have a question about the right hand technique. Can you play the piece with just index and middle finger? Why does it have to be played in that particular pattern?
Thank you for this very useful lesson. A question: in MAX ESCHIG that I'm using for this piece there are circles over notes in many bars. What do these circles mean?
A small empty circle above a note may mean two things: an open string or a natural harmonic. The first case appears often when you are playing in higher positions where you must include an open string, sometimes appearing together with the same note on another string , eg in a chord or arpeggio, to make clear which note is played when and where. The distinction between the first and the second case is usually evident in the context.
It's ok to do the slur part both ways (the cramped way and "the great pinky jump" but it varies between players, if you are virtuous technicaly and you have big hands the pinky jump is really comfortable (but it isn't :) stuff like that never is), if your hands are small it can be a huge advantage to do "the cramp". Also that rubber thing near your right hand looks interesting and might help some players. (I wouldn't use it because the right hand is stuck on it, and if I wanted to change the tembre I would need more mobility than that. :/) Anyways, thanks for the video, it would be useful for begginers that are starting to play this piece.
7:15. Very painful chord. Any advice for achieving pinky extention to he low G# and obtaining good sound? Or I just have to admit that my anatomy is not the adequate for this piece?
These kinds of issues are usually a combination of positioning and relaxation more than anything. For example my basic lesson on this topic: www.thisisclassicalguitar.com/lesson-left-hand-stretches-on-guitar/
what would you suggest if our first finger is getting too tired practicing the barred sections? Its not the thumb muscle its the one right to the right of the index tendon between the thumb and index but closer to the index. Its starting to swell a bit, even with extended breaks. I'm trying to apply as little pressure with the thumb as possible but it still buzzes as it weakens.
First off, stop playing and let your finger heal fully. Then ease back into playing and avoid any extended practicing of barres. Practice barres a very little each day instead of a whole bunch on one piece. When we practice barres there is so much extended time barring but when we perform it usually only lasts a few seconds. Also, consider using lighter tension bass strings to ease the pressure. Certainly re-examine your barre technique, maybe watch this: ua-cam.com/video/BoRM9VlUgDg/v-deo.html
I can't give a right or wrong answer to this as people have their own preferences and methods. That said, I've never seen anyone successfully bring the pattern up to speed and volume with the "c" finger involved and I personally wouldn't spend time on it. Not that it isn't possible, it's just not the norm. My recommendation is to do both the common fingering as well so that you develop the common pattern (which you want to be able to do at least) and you can experiment on the side with other fingerings. At worst you'll be practicing multiple patterns and developing your right hand technique.
@@Thisisclassicalguitar Thanks for replying, I played for a few years - half a lifetime ago - and was never taught right hand placement, started playing again a few months back and was really struggling to get the arpeggio section of prelude 4 up to speed, after a brief search for arpeggio advice I found your channel which is proving invaluable, in just a few days my right hand is feeling much more controlled - cant play the arpeggio as fast as I can without sequential placement yet but it's getting there - doing lots of m a exercises too. I can play this pretty quick with free strokes but it can get a little sloppy so I'll practice this with sequential placement and see how it goes. Thanks again for a great channel
Anchor as in rest on the soundboard? In general, classical guitarists don't anchor in that in order to keep all our fingers ready and relaxed over the strings. I know fingerstyle players do it on steel-string but classical playing is sometimes more varied and require us to keep the fingers ready for changes.
The low G# in bar 6? It shouldn't be too tricky if your guitar position and hand position (knuckle alignment) is okay. Maybe check out my video here: www.thisisclassicalguitar.com/lesson-left-hand-stretches-on-guitar/
@@Thisisclassicalguitar that video was super resourceful and now I can do the stretch part if played slowly. If you don't mind I have another question, I've been playing guitar (self taught) for around 5 years now and I still struggle with 7th chords, my 4th string always sound muted unless I'm doing a LOT of tension and even then it buzzes a little. I've calluses across my index finger but doesnt seem to help. What kind of exercises should I do to improve this? It's hindering my play on this piece a lot. Thanks!
@@Thisisclassicalguitar i know that this method is recommended,but unfortunately i learnt without any guidance and the pm method is easy to play with palm resting above the bridge,its very hard to play above the bridge,so i am trying to change it and use your shown technique thanks ffor replying
Hi, I know this is an old video, but I'd like to share my experience. The score I used to practice this piece gave two different right hand fingerings : p i p i p m i a m a i m p i p i or, almost the same but for the beginning : p m i a p m i a m a i m p i p i I hesitated a lot, trying both, before choosing the second one, finding it more confortable to play. I've always played this way ever since. I don't know if that's blasphemy, but maybe it can suits other people too.
Thank you for this video, I've been struggling with this piece for very long time, especially with the playing hand. It will be helpful to watch you play the entire piece.
This piece is not only a beautiful piece but its also a great right hand picking builder
My teacher said this was a good one to learn and you've helped me get through the first part in a little over an hour so thank you!
I prefer using 3, 4 on the first Em chord. Makes the transition much easier for me.
I used to do it like that but it was hard to reduce the string noise from the shift. But ya, the guide strings are nice.
@@Thisisclassicalguitar I'm up to around 100bpm playing this. How long did it take you to play at 177bpm? I also find it extremely hard to keep my right hand in time with the easy bit! The bit that goes from the 12 fret chord all the way down. Should be so easy but my right hand just goes 🤷♂️🤷♂️
as a suggestion by Adam del Monte, I use this piece as a daily warm up exercise.....I was using 2,3 on Em ...But l think 3,4 is better especially when going to the "B7-ish" shaped chord. It's helped me...people love this tune...even when played Slow by a slow player like me---lol
I use 2,3 because that gives me support, like a balance center for when the text changes to the next chord (way less stamina wasted on changing left hand fingers.)
Me too, definitely
I subscribed to your channel af few months ago, and it's amazing! I'm an adult learner in my twenties who quit playing guitar 10 years ago. I still have a video of me playing this etude at 13 years old but I can't do this anymore! 😟 Currently I'm working on Giulliani's and Sor's progressive etudes to get my technique at the level it was when I was in middle school. Your videos are helping me so much, and keep me motivated! When I've got my technical skills back, I'm going to message my old teacher at the conservatoire to start lessons again 🙏🎸
Great to hear it's been helpful!
Thanks for watching! Enjoying my videos? LIKE and SUBSCRIBE to help my channel grow!
Need more help? Check out my videos courses with books: www.thisisclassicalguitar.com/classical-guitar-online-courses/
Dude! Thx for these videos. I've been playing this Etude since around 2000 and I was still able to pick up some new concepts from this video. As a guitar teacher, and especially having two current students working on this, I appreciate the way you go through each of the concepts that are supposed to be gained from doing this etude.
As I'm sure you won't mind, I'm suggesting to my students that they follow you and consider some of the advice that you give us.
I've seen other videos of yours and I must say, I'm pretty impressed with the high level of effort that you put into your lessons.
Much appreciated.
Everybody plays this etude amazingly fast, but it sounds nice slower as well. I will never be able (I think) to play it very fast. But I get the hang of the righthand pattern and the chordschanges are working out better after practice. The m and a finger are not able to keep up when playng faster. I guess the're just not as strong as the others.
Thank you for this video, I've been struggling with this piece for very long time, especially with the playing hand. It will be helpful to watch you play the entire piece.
Excellent lesson on an incredible piece.
I'm halfway through... and you're helping me a lot, as always. Thanks
Emmanuel
I'm learning this study right now and your solution for the guide fingers makes a lot of sense. Thank you
13.52 the problem can be overcome by playing the B on the 4th then G on 3rd . If you stretch this with 1st and 2nd fingers the rest is easy 12th fret. I do like this tutorial. Villa lobos is good for just following chord shapes and therefore very easy to memorise
that's exactly how Segovia used to do. ua-cam.com/video/Eyhn3xoVIKE/v-deo.html
Great video Bradford. I always like seeing your lessons!
Thanks so much Peter! I ramble but I do try!
This is Classical Guitar I think you're setting a great example for keeping a running commentary going through a piece of music and thinking about the implications of each movement. Hope you're having a great summer!
Excellent class and fingering
Glad you liked it!
Excelent. The first class where i can understand this piece of guitaar
Очень хорошее и грамотное обучение,спасибо Вам.
Thanks for your teaching. I am learning this piece right now. Your tips are so useful .
Thanks for watching!
excellent video, working on this piece for my University Audition in 2 weeks, also playing Etude No. 6 - Leo Brouwer and Lagrima - Francisco Tarrega
This lesson tutorial is so useful! I'd like to follow a tutorial for Study n. 8, too, because I'm studying it at present. Thank you.
Thanks for this wonderful tutorial, I've committed to play this in a month's time and I'm a lot more confident doing it with the help of your past self haha
Great job!...Thanks so much!...Learned it years ago...forgot it...saw this...much easier the way you break it down!!
Great! Glad you liked it.
Great tutorial this helped allot!
Glad it helped!
thanks i overcomed this with your method,thank you for showing the right way otherwise i wass playing wrong
Excelente sua aula...
The E minor arpeggio to scale run. Can easily be played. E minor open position. Move up to the 7th fret. E minor. Here you're gonna use 4. 2. 3. And one. Strings. Or BG. E. B Then the G at the 12th fret with your third finger. And the E at the 12th fret. First string. With your second finger. This leaves you set up now to do the entire run with your first and second finger. Just simply hammer on. 11 to 12 on the 1st ring. 11 to 12 on the second string. 11 to 12 on the third string. Z 8 to 9 on the third string. 8 to 9 on the 4th string. 9 to 10. On the fifth string. 6 to 7. On the fifth string. 6 to 7 on the six string. Two to three on the six string. And of course, now your F# Bar isn't perfectly in place. This piece is meant to be played smoking fast. If you listen to it and water the Fernandes. For Norbert Kraft, play it. You get the idea.
Sorry for the voice to text mess. In my opinion. All of the Villalobos works. Can be broken town down too. Bach meets 20th century impressionistic music. You know what to do in the box sections that are extremely melodic. The 20th century impressionistic stuff. Needs to be played more impressionistically. And in some cases, extremely fast. To get you through the lack of melody. And to be more impressionistic. With tempo. In Volume. Most importantly. Is to not. Squeak your left hand. When playing the chordal plaining parts.For example Prelude Number 2. Starts on the F#. Major chord. With the B&E String Open. Then moves all the way up to a D chord. The only way to really get rid of the squeak is to let go of the wound strings. Or bass strings. This can easily be done by using your second finger on the G string as your guide finger while you move up the neck. If you play it slowly, it's going to be a drag. If you play it fast. I mean super fast. You can get the base. Root 5th. To be 1 sound. And the 4th through 1st strings. To be a different sound. Of course I would vary the tempo. And volume. The preludes are so beautiful. And you have to find the beauty in the preludes, especially the 20th century impressionistic parts. Listen to Eduardo Fernandez play. Etude number 2. At that speed, it sounds gorgeous. You could slow it down. But these are etudes. Studies. Getting you ready. Of course, if you listen to John Williams when he's a little older. He plays it fantastically. I don't know if anybody's ever done it as well. Julian Bream is so macho and so powerful and just rips through some of these pieces. I used to question it now, I love it. Good luck.
Of Of course I'm being very ambiguous. Eduardo Fernandez plays Etude #2 masterfully. And John Williams plays. The preludes. The best. Of course you have to find his newer renditions when he say 50 plus. An Julian Bream. Wow, what a powerhouse.
Thank you fou thé précisions 👍🎸🎶
Go figure why I'd find you, of all people, a gringo (I'm Brazilian), playing a Villa Lobos piece. Really nice. Thanks!
Inreresting that, watching Segovia play this, he appears to play his first Em with middle two fingers reversed, 2nd on the 4th/D string, 3rd on the 5th/A string, and is able to move into the second section without lifting his fingers.
Yes, I considered that fingering but couldn't bring myself to recommend it since it is a bit weird. I also, personally, don't always like compromising solid positions and fingers and would sometimes just prefer to focus on a good shift and finger exchange. But of course, it totally depends on the situation.
Thank you, that was a great lesson!
Than you so much for the lesson it's so helpful
brilliant video tutorial.
Glad you liked it!
Thank you! This is very helpful.
My pleasure...
Thank you so much man!!!! love it
Прекрасные уроки! Спасибо!
Спасибо за просмотр!
Great teacher.
Thank you for a great lesson. I first learned this piece back in the early 1980s, and it's fun coming back to it, but I do have a question. Almost everyone I've heard (including me, 40 years ago) plays this piece as fast as they're physically able, but the Max Eschig edition has the tempo "Allegro non troppo", which suggests a light, relaxed pace, rather than the hyper-fast Agitato feel most guitarists seem to give it. Does the facsimile also have this tempo indication? And has your performance preference changed in the 7 years since you made this video?
th😍ank you for your great tutorial
Glad it was helpful!
I think it's easier to shift when using 3 and 4 fingers for the first chord
What’s an acceptable minimum metronome marking for the arpeggio?
Thank you a lot!!!
You're welcome! Glad it was helpful.
parabens !muito bom!!
Muito bom! Obrigado pelo vídeo!
I notice you also have a double jointed thumb also know as "hitchhiker thumb". Does this cause you any problems with left thumb placement on the neck of the guitar?
No it doesn't, at least not for me. The left thumb shouldn't really be bent or have much pressure on it so not a problem.
Não entendo seu idioma, mas, entendo perfeitamente suas instruções, Very good.
Hello, I've been a fan for along time and have a couple of your books, but I cannot hit the G# note without risking serious consequences with my arthritis. At 62, I am going to play as long as I can. Should I bring that chord to the second position?
For those of you who have the same trouble. I'm playing an E7 / G# ( first position ) and it fits. I tried a diminished (4th pos.) first since the piece is loaded with diminished chords, but it didn't sound as good as the b7, and my sub works with the right hand picking pattern and keeps the bass line intact. With my arthritis and small hands, I am having to make a lot of these types of decisions lately. Thank you Bradford, I would be lost without you 😁
If you are certain your posture and hand positions are optimal then an edit to the score might be the solution for you. I'm assuming if you are attempting this work you are fairly advanced so this lesson might not be of help but maybe there are some reminders in there anyway: www.thisisclassicalguitar.com/lesson-left-hand-stretches-on-guitar/
Thanks for the lesson, is there any tip to increase the speed of the arpeggio other than use the metronome and get quicker?
Vincent Martin Speed bursts are a great way, I discuss it very briefly in the video. Also on the site article I recommend some technique books.
Thank you!
You're welcome!
Thanks. Teacher
The way you play sounds very good. Not robotic as some versions I've seen. Although it is a classical guitar etude and as such, we should respect the proper technique, there is no reason to not play with some swing, groove or feeling if you know what I mean. Every music has its dynamics and you played very nicely, applying the rubato. Also, your guitar sound very nice and clear.
Is there a video of you playing the whole piece? (sorry for the bad english). Regards.
I'm make a video so hopefully it will be posted soon.
Great!
Hi I have a question about the right hand technique. Can you play the piece with just index and middle finger? Why does it have to be played in that particular pattern?
thanks so much!
On the last two chords of the piece, I like and play the first harmonic but not the second/last.
Thank you for this very useful lesson. A question: in MAX ESCHIG that I'm using for this piece there are circles over notes in many bars. What do these circles mean?
Serguei Malanitchev they're armonics I think, in the middle in at the end (the upper E at the last chord)
A small empty circle above a note may mean two things: an open string or a natural harmonic. The first case appears often when you are playing in higher positions where you must include an open string, sometimes appearing together with the same note on another string , eg in a chord or arpeggio, to make clear which note is played when and where. The distinction between the first and the second case is usually evident in the context.
this improved the way I play this.
Glad to hear. Was there something specific that helped?
It's ok to do the slur part both ways (the cramped way and "the great pinky jump" but it varies between players, if you are virtuous technicaly and you have big hands the pinky jump is really comfortable (but it isn't :) stuff like that never is), if your hands are small it can be a huge advantage to do "the cramp". Also that rubber thing near your right hand looks interesting and might help some players. (I wouldn't use it because the right hand is stuck on it, and if I wanted to change the tembre I would need more mobility than that. :/) Anyways, thanks for the video, it would be useful for begginers that are starting to play this piece.
7:15. Very painful chord. Any advice for achieving pinky extention to he low G# and obtaining good sound? Or I just have to admit that my anatomy is not the adequate for this piece?
These kinds of issues are usually a combination of positioning and relaxation more than anything. For example my basic lesson on this topic: www.thisisclassicalguitar.com/lesson-left-hand-stretches-on-guitar/
Hello
Thanks for videos
Its very good but is there any sequential on videos
Which one is firs and how i can follow from the very beginning
Success
what would you suggest if our first finger is getting too tired practicing the barred sections? Its not the thumb muscle its the one right to the right of the index tendon between the thumb and index but closer to the index. Its starting to swell a bit, even with extended breaks. I'm trying to apply as little pressure with the thumb as possible but it still buzzes as it weakens.
First off, stop playing and let your finger heal fully. Then ease back into playing and avoid any extended practicing of barres. Practice barres a very little each day instead of a whole bunch on one piece. When we practice barres there is so much extended time barring but when we perform it usually only lasts a few seconds. Also, consider using lighter tension bass strings to ease the pressure. Certainly re-examine your barre technique, maybe watch this: ua-cam.com/video/BoRM9VlUgDg/v-deo.html
Is hard exercise or gym harmful for classical guitarists?
Well, healthy exercise with proper technique is generally good. "Hard" could mean all sorts of things.
i have learned it by resting the right hand on the bridge,i cant play when my right hand is on the rosette
Bonjour, c'est quel niveau ? merci
Is it ok to do "pipm iamc acma impi" instead? Feels more natural for me
I can't give a right or wrong answer to this as people have their own preferences and methods. That said, I've never seen anyone successfully bring the pattern up to speed and volume with the "c" finger involved and I personally wouldn't spend time on it. Not that it isn't possible, it's just not the norm. My recommendation is to do both the common fingering as well so that you develop the common pattern (which you want to be able to do at least) and you can experiment on the side with other fingerings. At worst you'll be practicing multiple patterns and developing your right hand technique.
@@Thisisclassicalguitar Thanks so much for your response and time.
I wish you could do the Mazurka from Suite Populaire Brasilienne next, please.
Come si chiama ol chitarrista
Took me years to get this piece under contol
Arie Koren seriously?
Took me years too and I'm a guitar teacher.
Only Ass Holes can find it easy after spending 5 min on it.
@@markbriggs5110 what
Hi ... great lesson. I watched your lesson on right hand placement, do you use any of those techniques for this? Thanks
Yes, especially while practicing.
@@Thisisclassicalguitar Thanks for replying, I played for a few years - half a lifetime ago - and was never taught right hand placement, started playing again a few months back and was really struggling to get the arpeggio section of prelude 4 up to speed, after a brief search for arpeggio advice I found your channel which is proving invaluable, in just a few days my right hand is feeling much more controlled - cant play the arpeggio as fast as I can without sequential placement yet but it's getting there - doing lots of m a exercises too. I can play this pretty quick with free strokes but it can get a little sloppy so I'll practice this with sequential placement and see how it goes. Thanks again for a great channel
This is great! What are your thoughts about using my ring finger to anchor for playing the up arpeggio?
Anchor as in rest on the soundboard? In general, classical guitarists don't anchor in that in order to keep all our fingers ready and relaxed over the strings. I know fingerstyle players do it on steel-string but classical playing is sometimes more varied and require us to keep the fingers ready for changes.
@@Thisisclassicalguitar Thanks! I'll keep working on my basics :)
does anyone has a tip on how to work to develop that G# pinky stretch? I keep crashing on it.
The low G# in bar 6? It shouldn't be too tricky if your guitar position and hand position (knuckle alignment) is okay. Maybe check out my video here: www.thisisclassicalguitar.com/lesson-left-hand-stretches-on-guitar/
@@Thisisclassicalguitar thanks for replying! I hope you're right, I'm going to watch it today.
@@Thisisclassicalguitar that video was super resourceful and now I can do the stretch part if played slowly. If you don't mind I have another question, I've been playing guitar (self taught) for around 5 years now and I still struggle with 7th chords, my 4th string always sound muted unless I'm doing a LOT of tension and even then it buzzes a little. I've calluses across my index finger but doesnt seem to help. What kind of exercises should I do to improve this? It's hindering my play on this piece a lot. Thanks!
awesome
Thanks!
How many beats per second would set the metronome when praticing? .
allegro ma non troppo ~110bpm
...it's that some kind of arm rest pad(?) on your guitar. Are they for sale? And thank you for the explanation of the piece!
It's an armrest, built into the guitar.
Is this an advanced piece ?
In general, yes it is advanced. Although, in terms of the Villa-Lobos etudes it is one of the easier ones depending on the speed you want to achieve.
Who is the maker and what are the specs of your guitar?
The info is here: www.thisisclassicalguitar.com/for-sale-2013-dominelli-classical-guitar/
Hi can you make a lesson of etude n 9 villa lobos ?please
Good suggestion.
This is Classical Guitar Hi ..
I need to understand the fingers of the right hand please make it as soon as possible
Can I play classical guitar with short nails on the right hand?
Yes, my nails are fairly short, see my fingernail lesson: www.thisisclassicalguitar.com/fingernails-on-classical-guitar/
This is Classical Guitar thank you for the reply!
Hi, what grade is this piece? Thanks
Hard to say, maybe grade 8 or 9? Always depends on the tempo and level at which you want to perform it.
@Thisisclassicalguitar
How many grades we have?
Any chance on doing a walk through on etude 3?
Maybe in the future, got a bunch of other content to do first
awesome. please continue. i cant afford a teacher at this time
you are a mazing
i use pm pm pm,is it wrong
Not wrong but I know that my way is used by many if not most pros.
@@Thisisclassicalguitar i know that this method is recommended,but unfortunately i learnt without any guidance and the pm method is easy to play with palm resting above the bridge,its very hard to play above the bridge,so i am trying to change it and use your shown technique thanks ffor replying
Hi, I know this is an old video, but I'd like to share my experience. The score I used to practice this piece gave two different right hand fingerings :
p i p i p m i a m a i m p i p i or, almost the same but for the beginning :
p m i a p m i a m a i m p i p i
I hesitated a lot, trying both, before choosing the second one, finding it more confortable to play. I've always played this way ever since. I don't know if that's blasphemy, but maybe it can suits other people too.
انگشت گزاری شما ایراد داره دوست من ،خیلی بهتر میتونه باشه
Thank you for this video, I've been struggling with this piece for very long time, especially with the playing hand. It will be helpful to watch you play the entire piece.