Carlevaro - Technique
This discussion thread is dedicated to Carlevaro's technical aspect of his work.
How to Get Started
Maestro Carlevaro introduced his technical ideas to his students by using the technical Cuadernos accompanied by the School of Guitar book.
- School of Guitar: Exposition of Instrumental Theory
- Didactic Serie for Guitar, Cuaderno #1 - Diatonic Scales
- Didactic Serie for Guitar, Cuaderno #2 - Right Hand Technique
- Didactic Serie for Guitar, Cuaderno #3 - Left Hand Technique
- Didactic Serie for Guitar, Cuaderno #4 - Left Hand Technique (Conclusion)
Hello, Barney , Dale Needles and Blaise Laflamme . Here we have exercise 24, from Book 3 of the Guitar Teaching Series, by Abel Carlevaro. It was recorded at 30 bpm and I hope it is useful to see the movements of the hands, arm, forearm and wrist. It is not a perfect recording, there are some flaws and mistakes, but I think it can fulfill its role. Later I will record a faster version, after studying a bit more, of course!
Since we have been talking mostly about Carlevaro's left hand exercises, I thought it is important to not lose sight of Carlevaro RH technique and am posting another sample of one of his exercises from Cuaderno No. 2. For this exercise, I am trying to bring out the bass line with the thumb, while using Carlevaro's "Toque 5" for the middle voice and "Toque 4 for the upper harmony notes.
Dale Needles Moyses Lopes Blaise Laflamme Is there a video somewhere that clearly demonstrates Right hand Toque #3?
I'm thinking this may be the approach I'm looking for to make my "free strokes" rounder, and approach a tone similar to my "rest "strokes.
I read the section in SoG, but I need more specific close up guidance on the movement, perhaps in slow motion showing the RH finger position, joints engagement, angle into the string and soundboard, how much pressure to be applied and the release trajectory. Thanks!!
We have discussed in the forum and showed a couple of examples from Cuaderno No, 2 (right exercises) and Cuaderno No. 3, (left hand shifts), so I thought it would be good to introduce Cuaderno No. 4, which focuses on practicing legados and extensions. Here is ej. 64 which I posted in the Etude Challenge. This study is called "Ligados Dobles Ascendentes En forma de Estudio." Of course, there are 63 legado exercises leading up to this study. It is also important to note that when practicing legados per Carlevaro's School of Guitar, the left arm plays an important role in actuating both ascending and descending slurs.
Since this Technique section of the Forum has been quiet lately, I wanted folks who follow this Forum to know that I plan to get back to posting more examples of Carlevaro's exercises from the Cuadernos in the coming weeks in order to open up discussions about Carlevaro's approach to various technical issues such as his right-hand strokes, left hand shifts (without string noise) as well as his slur studies and left-hand extension exercises. Also, I encourage others to post Carlevaro exercises that they practice (Blaise Laflamme Moyses Lopes Barney ) and to pose any questions you might have about Carlevaro's School of Guitar. I think between Blaise, Moyses and myself, we will try to answer.
Posting here a reply I got from Dale Needles (thank you!) , on the HVL challenge ,on the relation between toques and piano/forte, which I found useful.
" For each of Carlevaro's "toques" one can elicit a forte and piano dynamic. Additionally, each toque gives a different timbre or color to the sound. However, there are a few exceptions to this and it should not be interpreted too literally. For example, toque 5 which is used to bring out a metallic timbre, is almost always used when playing piano. "
Are there any recommendations on the relations between toques and playing more tasto vs ponticelli?