Carlevaro - Technique

Barney Those are his accent marks for the thumb

Dale Needles Okay, thanks!

Barney Hi Barney, I also do not think that I mentioned Ej. 25 in Cuaderno No. 3.  It is also an excellent study that uses the Barre for shifts by substitution and could be studied before Ej 24.  

Dale Needles Got it!  Thanks Dale!

Barney Hi Barney, I was thinking that if you are comfortable with those longitudinal shifts, my recommendation is to apply them to scales.  Carlevaro always emphasized that one of the most important reasons for practicing scales is to continue to strengthen one's muscle memory regarding longitudinal shifts.  

Dale Needles Hi Dale,  When I work on Scales, is it okay to use The "Segovia Scales" fingering, which has plenty of shifts?  ( I'm already familiar with the standard patterns for the different keys) or is there some special reason to use Cuaderno #1?

When doing shifts, I usually use "guide fingers', and gently slide on the string.  On the treble strings, it is noiseless, but the basses would have some noise.  What do you suggest?  Thanks!

Should I reach out to Moyses on the Ej. 24 video,  or it's too soon.  I don't want to put any extra pressure on him to do it.  Not sure if he had the time...

Barney Hi Barney, no problem using Segovia's scales.  However, I would suggest to try the shifts without the glissando, even on the treble strings. You can always add it later when it is musically appropriate but building the muscle memory of lifting off the string using the arm is key.  Regarding Ej. 24, I know Moyes is close so hopefully you will see it soon.  

Dale Needles Got it! Thanks Dale!  I forgot to ask about right hand fingering.  I usually use Rest Strokes (apoyando) i-m when playing scales.  What about that?

Barney Carlevaro also recommends using i-m, but he uses his free stroke which he refers to as "toque 1" in the School of Guitar book.  Carlevaro also has a unique approach to the traditional apoyando stroke which he describes in the School of Guitar under his description of "toque 3."  He does not like the technique of resting on the adjacent string, but rather he puts emphasis on the opposing movement of the finger after striking the string so that it either does not touch the next string or at least does not rest on it.  I know this is a big shift away from the traditional approach and can be difficult to apply.  Also, since you have an excellent right hand, I would not stress too much about it, but if you want to delve into it some more, I would be happy to help guide you through his Cuaderno No. 2.  

Dale Needles Thanks Dale!  I think for now I will use my traditional right hand approach.  I would rather focus more on the left hand gestures at this point.     I'll let you know if later on, once I feel the left hand is more or less "mastered" ( It would be only my opinion, and not sure if totally correct) if I wish to explore Cuarderno No. 2.

Barney 

Moyses Lopes Dale Needles Blaise Laflamme Thanks very much Moyses!!

It is very helpful and perfect at this speed to see gestures and rhythm.  It looks like lowest bass notes are usually held down ( even though notated differently).  Is this what Carlevaro intended? or does it not matter?  I understand purpose is mainly to execute proper movements of the arm, and wrist.

Is there some consistent musical/physical pattern that repeats in some way to make it easier to digest and memorize this study? Also, once the notes are mastered, did Carlevaro want the repeated bass notes played very softly and the upper voice louder while following crescendo/decrescendo markings?

I really appreciate this recording, Moyses;  thanks again!!

Barney Moyses Lopes Blaise Laflamme Muchas gracias a Moyes for making this excellent recording of Ej. 24 from Cuaderno No. 3.  Moyes did a superb job of showing the left arm, hand, finger movements which is key to this study.  Here are some of my thoughts and suggestions for practicing this study. 

Again, the importance of this study is the arm movement to actuate both the transversal movement and the longitudinal shifts by substitution and not get too hung up over maintaining all the notes to their fullest duration.  To validate this point, I reached out to Alfredo Escande and here is what he wrote, “The main importance is the movements of the arm, and the impossibility of maintaining some notes. But with the right movements of the arm, and a good use of the right hand it is possible to play it as if those "impossible" notes were maintained to their fullest duration. It is possible to create that illusion...” 

For example, in the first measure, it is less important to hold down the F# for its fullest value and more important to make a clean longitudinal shift by substitution with fingers 2 to 1 on the middle E.  The same goes for the G flat on the first string (which is impossible hold down) in the third measure when making the longitudinal shift by substitution with fingers 2 to 1 on the middle F. This same movement which is found throughout the first pattern going up the fret board also applies to the second pattern going back down the fret board. 

Another important movement that Carlevaro employs in this exercise is the "transveral" movement of the left arm/hand/fingers.  This can be seen in the first measure where he uses the second finger on the middle E as a pivot when he does a transveral shift using finger 1 on the low F (sixth string) to the high F (first string).  

As far as a musical pattern goes, I would divide it into the first section which has a repeated pattern going up the fretboard (frets 1 - 16), small transition (frets 17 - 21), the second section a repeated pattern going back down the fretboard (frets 22 - 36), transition to the Coda (Frets 37 - 42) and the Coda (Frets 43 - 47).  

Other musical components include the importance of the rhythm, as Carlevaro noted, this exercise employs the Afro-Latino Candombe rhythm popular in Uruguay.  Additionally, I would play the bass and treble notes on a similar plane except where Carlevaro places accents as well as following his other dynamic markings.

Dale Needles Moyses Lopes Blaise Laflamme  Thanks Dale for this explanation and for reaching out to Alfredo for confirmation!  This is very helpful as I try to work through this one.  The speed marking is crazy.  I'll be happy if I can just play it at medium speed.  Was there a particular reason for this high speed after learning it?

Blaise Laflamme Barney Moyses Lopes I agree completely with Blaise to take all these exercises initially very slow and to exaggerate the left arm movement. Once you master the movement and the muscular memory is set, then little by little increase the speed.  As far as the speed for #24 is concerned, I only knew (in addition to Carlevaro himself) one of his students who could play it at the noted speed of 112.  On my best day, I might get it up 80.  I think the reason for the high-speed marking is that at the noted speed, the Candombe rhythm really stands out but with that said, keep it slow.