The following outline of activities is suggested as a daily procedure. Simply increase the tempo, or as in the case of some of the exercises, extend the range or reach required of the exercise. Likewise, there is no limit to the difficulty of the exercises. A n exercise can be made simple by playing it very slowly or by playing only part of the exercise. This text can be extremely useful to advanced students as well as students with a limited background. These include confidence, patience, and freedom - freedom to concentrate on musical results rather than technical and freedom to choose pieces based on musical quality rather than on their degree of technical difficulty. 23 and 40.) Likewise the mental attributes of good guitar playing and musicianship are developed. The physical aspects of guitar playing - strength, endurance, control, flexibility, and security - are systematically approached.(Read the related comments by Alice Artzt and Peter Segal, pp.
By progressing through a daily routine of technical exercises the hands are adequately warmed-up and stretched. Technical emphasis is especially valuable in the formative years of guitar study. Even something as subtle as the use and control of rubato can be considered a technique to be isolated and worked on as a technical exercise. This, then, does not only mean the ability to play the correct notes at the correct time for the correct duration, or those obvious technical elements such as vibrato, apoyando, tirando, ligados, pizzicato, tambora, tremolo, etc., but includes the realms of music such as timbre, dynamics, separating a melody from a bass line, emphasizing the top note of a chord, emphasizing the bottom note or an inside note of a chord, etc. It is, in fact, difficult to separate musical expression from technique since "technique" is simply the control of those elements which bring about musical results. INTRODUCTION Technical exercises should never be viewed without a purpose or without constantly placing emphasis on musical quality. Michael Lorimer Liona Boyd Carlos Barbosa-Lima © C o p y r i g h t 1 980 by Belwin-Mills Publishing Corp International Copyright Secured
Their cooperation is in the highest spirit of professionalism and of concern for students of the instrument. I extend my sincere thanks to the guitarists who contributed to this volume. It is assumed that the person using this volume has access to other sources which thoroughly deal with these aspects of guitar playing.
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This book does not discuss basic guitar technique or terminology (sitting position, hand positions, rest stroke, free stroke, etc.). Every exercise in this book, if it is played accurately and cleanly, requires a tremendous amount of skill and dexterity. Also, because of this concentration on a particular problem, many of the exercises appear simple. The concept of breaking problems into small, isolated units is an important "secret" to the control of the instrument. It will be noted that many of the exercises concentrate on only one detail of guitar performance. This book, in a small way, allows students of the guitar to become acquainted with twenty-one of the world's famous guitarists and teachers, and gives them the opportunity to practice the same exercises that these masters practice. PREFACE Every musician aspires to know and study with a great master.
Christopher Parkening Charles Postlewate.GUITAR MASTER CLASS Technical Exercises by Famous Guitarists and Teachers Andres Segovia
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