Many years ago I was asked "how can you play those scales and arpeggio so fast ". My reply was " think thru them within any break. It worked for me. Thanks
I played classical for 15 years without touching a pick and yet never came close to the speed I was able to achieve with a pick before taking up classical. Not even close, unless I relied too heavily on rest strokes which resulted in an uneven attack. Given your impressive results (though I'm sure talent has a lot to do with it!) I'm going to buy your book!
Thanks Matt for sharing your virtuosity with us as well as your insight. A couple of weeks ago I was working on some right hand fingering techniques... using p i, i m, and m a, for the same scale. Then I tried the same scale using p i m and i m a combinations. With the p i m. combination , I found out the thumb was further away from the first two fingers in order to get a flowing fluid motion. But the i m a combination is EXCELLENT!!!! The fingers are right together!!! I tried doing some whole tone scales, real slow to get used to the movement, and found this to be the best way to execute these scales, and the most comfortable!!! Thank you sir for... CONFIRMATION!!! I've seen some Flamenco guitarists blast through some scales, but they're using the two-finger i m picado technique. But with three fingers you get more mileage!!! Matt I must say you have discovered the Golden Principle!!! Love your teaching techniques, and HIGH level of musicianship!!! Inspiration is the motivating factor. And "THAT" you have done. "THANKS AGAIN"
What a sweet and pure sound...absolutely beautiful! Nice technique. I have a picado part in one of my compositions that is played apoyando (rest stroke). I would be curious if you would be able to apply the three-fingered approach to the part. Would you mind taking a look at it?
Rest stroke, thumb 2 strings behind, train your fingers to do 3 against 4 on one string, then train your i finger to plant and your a finger to prepare once m plays on one string. Then do the same thing on ascending patterns. Descending is easier. Don't slack on IM scales either, these are not a replacement for them but rather an addition to make speed easier to attain. Avoid the accent on a at all costs, the speed will come. Start slow and deliberate. Do lots of ami runs.
Is this technique useful without the 3 note per string scale patterns? I find difficult to have a fluid sound/speed when playing diferentes string changes.
Very virtuosic [ is that a word?] But, my right hand fingers can move about 20 times faster than my left hand fingers! So what do you recommend for speeding up the left hand?
Holy crap a classical player with flamenco scale technique. That is what a lot of classical players aspire to be. This guy nails it. Fast , clean, even and all notes the same volume. Truly a virtuoso.
If you watch his right hand he is using free stroke, 3 fingers A M and I. I tried cant do it, im a traditionalist I and M , free and rest. I did try an experiement I play PIM, free stroke, its super fast but I lack control I need to force myself to slow down and it might work. Matt is very fast and fluid doing A M I free stroke.
This is something totally new to me . I don't think it's standard teaching in classical guitar . I find playing scales with my thumb and index finger is also a lot faster
on second thought, I can see how adding another finger can make the movement easier and more fluid . He's basically playing a tremolo pattern across the stings. I can see the benefit in that
Ken opalus+ playing scales witn P I (thumb index) sound very staccato in my opinion, anyway there are more ways to play scales of course► i think I M (index middle) as flamenccoplayers do, is the fastest way, because the A (ringfinger) is slow by itself, but the way this guy plays, is ok when you play 3 notes per string, if you know what i mean...
The thing about classical guitar right hand technique that almost no one addresses is that one's accuracy lot has to do with the hands you have - and fingers/nails you were born with. Unlike a violin, piano, wind instrument, reeds, your right hands have to act as s the default plectrums you were born with are in DIRECT contact. You don't have an intermediary of hammers, plectrums like a piano or an even a bow of a cello. I have seen conservatory graduates in classical guitar _ Master's Degrees - spent their whole lives practicing, etc. missing notes throughout their concert. This is actually very typical. They could take lessons from the best players for the rest of their lives, change hand positions ad nauseum, and really never improve much. They might think they do - but really, lol. Not much. Their right hand technique was never spot on and ..never will be. On the other "hand" i've seen other players, like this one go through runs effortlessly - and why not - all you are doing is alternating between 2 fingers. Big deal. A lot of people with talent have no problem getting breakneck speed with a bow or plectrum--- why ?? Simple. Because the contact object was machined by hand or in a factory to do precisely the chore expected of it. Our hands vary a lot from person to person. You might oddly curved nails, you might have an I' finger that is much shorter than n the middle, strangely shaped knuckles, slanted nail beds, etc. and for that matter your right hand shorter or different from your other hand. There is only so much you can do with nails too. There are thousands of players that will never be able to play fast runs as easily as this player - and never will. Never Ever.I don't care how many books they buy. I know what i'm talking about. . By the time you have been playing, say 10 years....if you still are routinely missing and jumping strings - you always will. Just the equipment you were born with and always will have. Very easy to prove my point - get a pick, practice runs for 6 months and see if your picking misses constantly. It won't, assumng you have good talent.. Your left hand will be solid too because the fret wire is machined precisely. But your right hands are another matter. As simple as that. For some people it's easy. I've seen 10 - 13 years old rip through scales, and they're not thinking about their hand postions, lol. Trust me, has NOTHING to do with hand position or mindfulness about going from string to string. No fantastic player does that- or even thinks much about it. But you don't have their right hand. But books or lessons on "right hand technique" are Ok....everyone has to make a living.
You make a very good point. If your fingernails are straight or even slightly concave, the tone and speed suffer. And if the disparity in length between "i" and "m" is great then the hand must be turned inwardly, like Segovia adopted. In the latter case, speed suffers when the nail tip plucks the string diagonally, however small the angle. Matt is gifted not only with talent but also with physiology.
@@TheBinaryWolf Yeah, i think if you're not able to play quickly and accurately at a young age - say after 5-10 years of serious lessons or self study ...you just never will. Forget about talent or practice, that's not the problem. By the same token, some lucky people can go through scale runs with no effort at all...sometimes with no lessons or interventions -their hands just work. Piano, Cello, violin no mechanical issues for speed - in those cases it just comes down to work and talent and time. I know a ton of classical players...most have the same exact issue that i have.- and been playing their whole lives with obvious talent ...but one finger just constantly misses - I will try an artificial nail though, that a lot of people seem to be using - just to see if that helps- but doubt it, since even an artificial nail has to follow the same coutours of my nail bed.
After hearing Mr. Palmer hit speeds that most of us can only dream about, I chuckled when he closed with: “Okay, best of luck with that.”
Strings By Mail Sponsored Artist, Matt Palmer, has a new Lessonette to share with us! Check out this "Fluid Approach to Fast Scales" video!!
Many years ago I was asked "how can you play those scales and arpeggio so fast ". My reply was " think thru them within any break. It worked for me. Thanks
That's all I was looking for. Thanks a lot!
At least he didn't spend half the time talking about nothing like the rest of them.
I played classical for 15 years without touching a pick and yet never came close to the speed I was able to achieve with a pick before taking up classical. Not even close, unless I relied too heavily on rest strokes which resulted in an uneven attack. Given your impressive results (though I'm sure talent has a lot to do with it!) I'm going to buy your book!
Nice Job! I have fast hands from playing bass as my first instrument,but not so good on nylon.i will practice this on nylon.
Great insightful lesson. Must also stress the importance of the left hand damping and fretting dichotomy(or vice versa for all ye southpaws)
Nothing short of magnificent!
BRAVO MAESTRO!
Very Good Lesson on Right Hand Technic Guitar. .. Nice One ... ☺😊😀/👍👌👏
The lesson is vague I assume so we'll go buy the book ;)
BRAVISSIMO MATT
please more videos like that
That's like an angel playing guitar man 🤠
Thanks Matt for sharing your virtuosity with us as well as your insight. A couple of weeks ago I was working on some right hand fingering techniques... using p i,
i m, and m a, for the same scale.
Then I tried the same scale using p i m and i m a combinations. With the p i m. combination , I found out the thumb was further away from the first two fingers in order to get a flowing fluid motion. But the i m a combination is EXCELLENT!!!! The fingers are right together!!! I tried doing some whole tone scales, real slow to get used to the movement, and found this to be the best way to execute these scales, and the most comfortable!!!
Thank you sir for... CONFIRMATION!!!
I've seen some Flamenco guitarists blast through some scales, but they're using the two-finger i m picado technique. But with three fingers you get more mileage!!! Matt I must say you have discovered the Golden Principle!!!
Love your teaching techniques, and HIGH level of musicianship!!! Inspiration is the motivating factor. And "THAT" you have done. "THANKS AGAIN"
very nice!
What a sweet and pure sound...absolutely beautiful! Nice technique.
I have a picado part in one of my compositions that is played apoyando (rest stroke). I would be curious if you would be able to apply the three-fingered approach to the part. Would you mind taking a look at it?
Matt, You are very brilliant and extremely talented, excellent teaching skills.
If I may ask the name of the introduction work, Thank you.
Rest stroke, thumb 2 strings behind, train your fingers to do 3 against 4 on one string, then train your i finger to plant and your a finger to prepare once m plays on one string. Then do the same thing on ascending patterns. Descending is easier. Don't slack on IM scales either, these are not a replacement for them but rather an addition to make speed easier to attain. Avoid the accent on a at all costs, the speed will come. Start slow and deliberate. Do lots of ami runs.
grereat !!!! we want mooore!!!
I just found my new guitar hero....man-crush ENGAGED!
well done. what's the name of the piece above?
Does anyone know what fingers he's using to play the scale?
Is this technique useful without the 3 note per string scale patterns? I find difficult to have a fluid sound/speed when playing diferentes string changes.
Very virtuosic [ is that a word?] But, my right hand fingers can move about 20 times faster than my left hand fingers! So what do you recommend for speeding up the left hand?
..it's 'virtuosical'...
Con que dedos de la mano derecha pulsa las cuerdas maestro? Índice y Medio o Índice y anular?
Walter Altamira
a-m-i
Hi Matt, do you use ami pattern on the right hand as default fingering, when playing the scales both ways?
Paco de Lucia was his Teacher... :)
Holy crap a classical player with flamenco scale technique. That is what a lot of classical players aspire to be. This guy nails it. Fast , clean, even and all notes the same volume. Truly a virtuoso.
so he showed us what not to do didn't show us what to do or how we should approach doing it
@@thegerman3480 woah chill
great matt tocco libero o appoggiato?
Excuse me, Egon, you said crossing the streams was bad.
is that picado/rest stroke technique?
Hi! please tell me, in the end of the video, what works this passage?
MrBloodymyr The closing music is from my CD recording of The Heaven's Hundred by Olga Amelkina Vera
Very strong within the meaning of the work. Thanks for great performance
How about practicing classical guitar on steel strings?
Yuri Danylko you can do it, but it’s not really the ideal instrument
Are you using rest or free strokes?
If you watch his right hand he is using free stroke, 3 fingers A M and I. I tried cant do it, im a traditionalist I and M , free and rest. I did try an experiement I play PIM, free stroke, its super fast but I lack control I need to force myself to slow down and it might work. Matt is very fast and fluid doing A M I free stroke.
Is he doing rest stoke or free stroke
*@Zach..* Free stroke or Tirando.
Free
This is something totally new to me . I don't think it's standard teaching in classical guitar . I find playing scales with my thumb and index finger is also a lot faster
Ken opalus + playing scales with your thumb and index is the correct way to play classical scales? i thougt index and middlefinger
on second thought, I can see how adding another finger can make the movement easier and more fluid . He's basically playing a tremolo pattern across the stings. I can see the benefit in that
Ken opalus+ playing scales witn P I (thumb index) sound very staccato in my opinion, anyway there are more ways to play scales of course► i think I M (index middle) as flamenccoplayers do, is the fastest way, because the A (ringfinger) is slow by itself, but the way this guy plays, is ok when you play 3 notes per string, if you know what i mean...
exist one classical guitar with this technic; (p, i) ,,,the name is like Remi shuartz o something that. I use too
That's okay, but i hear your bass strings are resonating. Or is it fine?
And how are u using your a finger
✔
si no ha dicho nada…..
Wich strings is he using here?
+Kevin Toine From his website: "Matt Palmer is a Strings By Mail sponsored artist and plays D’Addario strings."
~Miguel, Duo Romanza
Kevin Toine All of them.
whahaha .... i am pretty sure you know he asked the brand....
Do you start on ring finger?
When Paco De Lucia was asked which finger he starts with, he said: Well, which foot do you start walking with when you go to get a cup of coffee!
I envy u!
I find the high speed scales unmusical. The rest of the lesson was tops. THX
The thing about classical guitar right hand technique that almost no one addresses is that one's accuracy lot has to do with the hands you have - and fingers/nails you were born with. Unlike a violin, piano, wind instrument, reeds, your right hands have to act as s the default plectrums you were born with are in DIRECT contact. You don't have an intermediary of hammers, plectrums like a piano or an even a bow of a cello. I have seen conservatory graduates in classical guitar _ Master's Degrees - spent their whole lives practicing, etc. missing notes throughout their concert. This is actually very typical. They could take lessons from the best players for the rest of their lives, change hand positions ad nauseum, and really never improve much. They might think they do - but really, lol. Not much. Their right hand technique was never spot on and ..never will be. On the other "hand" i've seen other players, like this one go through runs effortlessly - and why not - all you are doing is alternating between 2 fingers. Big deal. A lot of people with talent have no problem getting breakneck speed with a bow or plectrum--- why ?? Simple. Because the contact object was machined by hand or in a factory to do precisely the chore expected of it. Our hands vary a lot from person to person. You might oddly curved nails, you might have an I' finger that is much shorter than n the middle, strangely shaped knuckles, slanted nail beds, etc. and for that matter your right hand shorter or different from your other hand. There is only so much you can do with nails too. There are thousands of players that will never be able to play fast runs as easily as this player - and never will. Never Ever.I don't care how many books they buy. I know what i'm talking about. . By the time you have been playing, say 10 years....if you still are routinely missing and jumping strings - you always will. Just the equipment you were born with and always will have. Very easy to prove my point - get a pick, practice runs for 6 months and see if your picking misses constantly. It won't, assumng you have good talent.. Your left hand will be solid too because the fret wire is machined precisely. But your right hands are another matter. As simple as that. For some people it's easy. I've seen 10 - 13 years old rip through scales, and they're not thinking about their hand postions, lol. Trust me, has NOTHING to do with hand position or mindfulness about going from string to string. No fantastic player does that- or even thinks much about it. But you don't have their right hand. But books or lessons on "right hand technique" are Ok....everyone has to make a living.
You make a very good point. If your fingernails are straight or even slightly concave, the tone and speed suffer. And if the disparity in length between "i" and "m" is great then the hand must be turned inwardly, like Segovia adopted. In the latter case, speed suffers when the nail tip plucks the string diagonally, however small the angle. Matt is gifted not only with talent but also with physiology.
@@TheBinaryWolf Yeah, i think if you're not able to play quickly and accurately at a young age - say after 5-10 years of serious lessons or self study ...you just never will. Forget about talent or practice, that's not the problem. By the same token, some lucky people can go through scale runs with no effort at all...sometimes with no lessons or interventions -their hands just work. Piano, Cello, violin no mechanical issues for speed - in those cases it just comes down to work and talent and time. I know a ton of classical players...most have the same exact issue that i have.- and been playing their whole lives with obvious talent ...but one finger just constantly misses - I will try an artificial nail though, that a lot of people seem to be using - just to see if that helps- but doubt it, since even an artificial nail has to follow the same coutours of my nail bed.
This lesson is too short with not sufficient explanation of what to do. Goals not met!!
check ua-cam.com/video/x0TTiYToepY/v-deo.html
HOLY FUCK MAN either turn up video sound level or turn the outro level DOWN!!!
WHAT? so the video goes "hey, don't do that. Best of luck!" what the hell man what am i supposed to do?
I can't hear what he's saying the sound is very very low. The guitar is fine but his voice is inaudible