Group 2

David hi David, there’s no assumed background information here. I made three different work sheets and paired them with three videos where I go through all the exercises that are needed for this course. We’re basically building up the technique by learning the required principles, that can ultimately be applied to your own repertoire. There’s another worksheet where you can try to find a suitable rh-fingering for some short snippets of popular repertoire, which we will discuss further in the check in on Monday.

I hope this answers your question!

Peter Graneis thank you very much for the detailed reply on prerequisites for the TWI.

As a follow-up question, do you have any favorite scale studies or references or sheet music recommendations for a more novice player?

My understanding is that scale technical work on the guitar focuses quite a bit on the RH. For the LH, I am becoming familiar with a set of (5?) no-stretch open string and movable scale patterns with shifts incorporated for two octaves, or a few three-note-per-string movable patterns.
I also under the impression that scale work on the guitar contrasts that done on, say, piano or violin; the patterns in the LH are repeated up the fretboard such that there is redundancy in religiously going through all 24 major and minor keys, and the frets are all spaced in half-steps and assist in correcting for any small placement errors.
Finally, As mentioned in the introductory video, scale passages are not terribly common in the repertoire (perhaps as contrasted with piano music?).
Nonetheless , at the very least, I am reading written-out scales to work on my fretboard “literacy” to improve sight reading, and to work on dynamics, articulation, tone and LH-RH synchronization.
As might be evident from my description above, I’m a bit confused by the LH options and any advice on how best to help improve my understanding and technical mastery of fingerings would be much appreciated. Perhaps there are standard references that would help me learn the various options and the pros and cons of each? 

 Thank you very much for the ideas presented in the videos. I’m enjoying the challenges of the assignment!

David hi David, I’ll try to answer all your questions: 

For now I would work with the few scales included in the work sheet. There are a total of 3 worksheets that gradually build up more and more complex scales, step by step building up both hands. In the beginning the focus is very much on the right hand, in order to learn this technique, that’s why it seems like we’re not covering left hand/ syncing up both hands. We will! 
however I would completely disregard looking at much music theory for now, in order to give this technique a chance we have to establish rh-control. 

Larry Baziw hi Larry,

2 ways to work on this: the obvious one being reducing speed. By this I mean finding a speed where you are able to play the exercise relaxed and flawlessly, building up speed in small steps from there. 
the other one is playing the exercise in question (6) with only the right hand first, in order to get used to the system. 
hope this helps!

Peter Graneis 

I will slow down and do small speed steps.
I’ve noticed using just the right hand  gave me a better focus and sense of the individual p-m-i movements.

Thank you ! 

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