kitarist -> RE: Practising (Apr. 11 2019 6:00:12)
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quote:
ORIGINAL: flyeogh However, one thing that I need to progress to keep advancing is the speed/accuracy of my arpeggios. In order to plan my attack, I’d appreciate any thoughts on: Looking at all types, up/down, single/double. Do you practise them all, say on the same day? Or is it easier to focus on one at a time? To get more speed do you practise with free strokes (as on the 4th string that seems necessary and keeping them all the same stroke type might help)? Or do you use rest strokes for 5th and 6th? Also, to get more speed. do you plant all three treble playing fingers in advance? I don't know what some of this means. What is single double - is it a reference to single double speed, or to ascending (or descending) vs. ascending+descending? And what arpeggios do you practice on strings 5 and 6? It might be clearer if you label arpeggios by the way you use your right hand for the pattern. Are the bass string arpeggios some combination with p? I tend to practice arpeggios along a couple of lines : - patterns that occur frequently in flamenco, like amip or pima or pimami; Giuliani Op.48 no.5 pimami study is a favourite benchmark; - patterns with m and a preferentially in order to improve finger dexterity and equalize skill, like Pujol's El Abejorro but played with pmam instead of the original pimi pattern; - patterns which "expand" my brain, to improve finger control and independence, like the pipipmiamaimpipi pattern from Villa-Lobos Etude 1. For each of these, you can vary dynamics, tempo, bring out voices, accent different notes - for fun as to not get bored, but also this teaches you control and independence so it is beneficial technique-wise as well. Cycling through this, rather than doing all of that every time, is almost unavoidable - especially since arpeggios are just one part of technique, and you would also need study and practice time for pieces. Well unless you have 14 hours a day and can sustain it, then you can probably do all each day. The more recent method books I've seen on classical guitar technique (same as flamenco on arpeggio, and overall a subset of flamenco technique so it applies here) seem to arrange technique practice as cycling through different elements with a goal of covering the entire scope you wanted maybe within a week's worth of practice sessions. EDIT: To answer your planting question - I don't do block planting (planting ami all at once) and only do sequential planting; well, unless I am starting the exercise or piece in which case all fingers might be on the strings. I don't really see the benefit of block planting (aka full planting) for anyone who is not a beginner in guitar technique. I think it messes up the natural movement of fingers so in fact it makes reaching higher speeds more difficult compared to sequential planting. Sequential planting is also what you need for tremolo (flamenco or classical) - there you don't even have a choice.
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