bends and the Names of the Fingers The Hand me ret of the left hand are numbered in the following way: Index = 4, Midi = 2, Ring = 3, Pinky = 4, Thumb = * (The LH thumb is not used by modem classical guitarist to hold down strings, however, Giuliani did use the * symbol, signify the thumb in his Studio per la Chitarra, Op.1 published in 1812) Itis very important to keep your fingers in the proper playing or “ready” posiion as seen below in Ex. 1.6. Notice that the 1° finger leans a bit to the left while the 2% finger is more “straight on’, but still a litle to the left. The 3” finger is vey much straight on and the 4" finger leans a little to the right. This positioning wil allow your fingers to have the greatest independence and the most mobility. Ex 1.6: Left hand “ready” positionThe order of the fats/sharps will not change as you move from one Key to the next. As you move through the circle, either clockwise or cou 20d cherps and flats in tis order: Order of sharps Order of Flats ©i is is quit it of jumpil id between ba; In this exercise there is quite a bit of. jumping around 88 and Seen : The most effective fingering for the right hand is to use the thump (p) on the bass strings while using / or mon the treble strings. Ex 5.18 The Sixth String Finally, the sixth string (E/®) has the same fret pattern as the first and second strings. Notice also that the names of the pitches have the same letter names as the first string; they are just two octaves lower. Ex 5.19520: Now that we have leamed all of th eo Bape eo ae, ate oe carefully. nj, m alternation is the left hand fir Nm. Scales should always be proses et 0" the bass stings ee of the i a epe0d development later on. cticed with alternating fingers to allow oles in first position we jm i mec. the following exercises use all six strings. Go ic ir right and left hand fingerings and poate eae eae ; rscontad riod examples on the CD can be very useful for understanding the \usical : and other nuances. ee Ex 5.21 £x5.22: Leccion 8a (from Nuevo Método) by Dionisio Aguado (1784-1849) [CD Track 15]now lots apply this idea of letting fingers nat i Moept this time with the ring finger leading anal ee we eal caterers ' oo Sop wront cones hourg ea cher See TS 7:42 or descending as shown in Ex. 7.18. pean gierd decker uh \ Ex. 7.18: Giuliani Op.1, No. 88 ami ami P P Opposing Motion The opposite of sympathetic motion is opposing motion. Opposing motion occurs when two fingers move in opposite directions at the same time, such as in a standard i-m alternation. It is important to synchronize the movement of the fingers and to not have one lag behind the ‘other. They should move quickly and accurately past each other, starting and stopping at the same time. See the images below. The images below show how the index and middle fingers move during Feat Bal Fon with free-strokes. Work 10: SyTGIore te ner they move from their ready-positions to their follow-through positions. 80Ss a ne RH in position to use your index A mb to meet th Sea or P plays, ppc while mar, the $200 oro aera tra fa em eae er ke with the mi sition, sting wort eeon itand the index finger. The poy thatthe: of Sung the the middle finger through towards the elbow. eludes as the ina Motion, ste thumb plays the next note. | kn Relax both j and monger 7 }OW this all s, iaeek itdown one step at atime and go sioyiy, “°° ally complicates bul x72: Giuliani Op.1, No. 81 Triplets a For this next group of arpeggio patterns each beat is divided into thy tipets. Its important that each of the three notes in a triplet be peor! sean over the beat. Toplay examples 7.22 and 7.23, set your right hand ready-position for the index finger to play the second string. As I've stated before, itis important that your thumb does not change the positioning of the fingers as it moves from bass string to bass string. Now it is just a matter of thinking about which finger leads and which finger follows for each pattern. Ex. 7.22 employs the index finger as the lead with m following. For 7.23 the middle finger leads and the i finger follows. Relax both i and m together each time p plays. Allow a and the c to move sympathetically with the m finger. §x7.22: Giuliani Op.1, No. 2 im im 2 3 3 3 82Ex 7.32: Variation No. 4, Folia di Spagna by Merchi [CD Track 21]ust to pe is ke sure that all of this is clear, let's take one of the pattems and it to various positions on | Be fretboard it to a few different keys b) ae . As yy moving i ‘ferent a apoetion is the musical term for playing the same thin YOU pa 3 a ee er att Ee he fret lower than the C major ay! ie LH fingering stil am (se0 Ex 8.19), ingering still forms 9Birds flew over the Spire pring an sree = 10-120) as lon ¢ J =—— ‘harm. ~ we R Eo T. p - ae SST Gt = (in orginal, bracketed C tobe played 2nd time only, No repeat to be played in the examination, therefore play. (© Copyright 2009 Camden Muse, Reproduced fram City Scenes (CM25N. Used bY(born 965) ee “} Da cohen Stefan Oser mel uk Cry ofl oes ty re 4 TI e ° o w FoF att oor r r © cnt 20067 as Dane nar Hermans KS. Vie ch Obs 359 Reena ee eae ay upartanebs cent oe: Met.Galliard Francis Cutting (15714596) ‘Copyright © 2009 Trinity i 4 eiThe Sick Tune John Dowland (1563-1626) (Dolce ¢ tranguitio)i Ne Sey ae Pe Ea ANDANTINC seo