Group 2
Increase Legato Playing in Both Hands in Two Weeks with TY!
Every instrument has its limitations and weaknesses. Playing legato is one of the hardest things to master on the guitar. Every note is so fragile: if your right hand accidentally touches the string or your left hand leaves the string in-between notes, the note will be stopped. Let’s explore and discuss the techniques and experiences on the details of how to maintain the notes with your left hand clean shifting, shifting motion, fingertip motion, exercises, and right hand training processes of free strokes for perfect legato playing.
Fellow Participants in Group 2:
TY Legato Group 2
Tom Reed
Robert
Nick
David Levin
Jim
Marilyn Blodget
Stefano
Jerry
Martha Kreipke
Tony Gunia
Michael
Assignments:
Share a video where you demonstrate the three exercises as presented by TY. As a bonus, add measures 1-10 by Carcassi op.60 no.1
- Release the String, don't pluck it!
- Spider Exercise!
- Left Hand Shifting / Change Fret Exercises
- Carcassi Op.60 No.1 Measure 1-10
Watch TY's Lesson on Carcassi op.60 no.1 here!
How to get the most out of this course
Zoom Check-In: Sunday, July 24th 3pm EST / 12 noon PST
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Hi TY, hi all,
TY, thanks for that excellent video(s).
Here is my first video (Exercises 1-3).
For me, it was challenging to focus all the time on the mechanics and also listening on tone quality and to avoid bad habits (if there are any...). Good thing, I am happy: I was suprised that in particular the up-shifting produced almost no squeaking sound on the string. :-)
While watching myself I realized that in particular with the left pinky I tend to "stretch" the string a bit downwards, and I also heard that a bit since the tone was going high a bit.
I like the spider exercise, and for me it is also good for LH finger movement, independency etc. I did not record it along all string combinations...
Cheers,
Robert-
Robert Love all that you wrote in the practice reflection dear Robert! So so so great to witness productive practice!
E 1, relax the fingers right after playing the string, feel them bounce back to position-the beginning default position. This is referring to the I M A fingers.
E 2, really nice, I would encourage to have the little finger finger tip more vertically pressing down thee string! Try to have all fingers leaving the string without any side tension, so zero squeaks!
E 3, sounds really great, the ring finger could always stay a bit longer before leaving! Towards the end is better! The skip one string was great!
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TY Zhang Thank you so much for your motivating and valuable feedback. I will proceed and work specifically on the aspects mentioned in your comments. It is so great to be here and to get that response here. Thanks, thanks, thanks!
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Here is my short video for exercises 1-3.
I have been working on the etude but am confused about exactly how you mute all the notes. I would like to see a really slow example. Like many students I have played this etude for many years but have never been advised to mute the notes by any of my teachers.
Thank you.
Martha Kreipke, St. Louis, MO
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Martha Hi Dear Martha! I will make a video for you tomorrow!
E 1, Right hand try to generate the movement majority from the 3rd joint, instead of the 2nd joint.
E 2, sounds very great! the ring finger could stay longer until the last moment to leave the string!
E 3, super clean and great job! Right hand could try to use thumb P to play the basses. I love this one, how you did was perfect!
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Martha Kreipke Hi Martha, thanks for sharing that video. I also play E3 with RH thumb only. And you mentioned what I forgot to mention: the question about the Etude. I mean, sometimes I muted some notes, but I never did this with full awareness of what I was doing, it was more like a "natural" thing for me, and I never did it consequently and I never had such a precise score with those additional remarks on single notes (which, I think, is very good for this practicing purpose). So I look forward to watching TY's extra video.
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Robert TY Zhang Thank you for viewing the video and commenting so promptly. The feedback is very helpful. TY - I look forward to your video.
Martha
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Martha Kreipke Left hand Mute: https://youtu.be/yDA2FW0yvOk
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TY Zhang Thank you for taking the time to make this video. It really explains the left hand muting technique you use. It will require some serious brain re-wiring for this 70 year old brain to allow my fingers to break so many rules! Martha Kreipke
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Martha Kreipke I hope I could play this good when I am 70!
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TY Zhang What I realized is that I think about muting when there is a rest in the score. What you have shown us here is to look for the places where we need to dampen the resonance from open strings and write in a "virtual rest" the way you did. That takes score analysis to a new level for me. Thank you. Martha
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Martha Kreipke Nice summarize!!! Thank you for writing your reflections to us!
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my first upload
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Nick Hi Nick, thanks for sharing that video. Good stuff, I think, for the 1st attempt. Your right hand is more or less not visible (might be important for exercise 1), maybe you can record from a slightly different camera position/perspective next time. Exercise 3: same as Martha, maybe use the RH thumb - but this should not be a big deal.
I think, we all are on the right way.
Regarding Carcassi (your next video): TY has sent an extra video on that now - should be helpful for all of us. I hope, you are getting rid of the feeling of being ruined - but I think I know what you mean. And suddenly, one is aware of many details of playing and sound control etc. - a totally different (higher) level if one can master this step by step, but the reward of all the awareness and practice is surely great! We should have fun while doing this. I definitely have fun, and it is a mixture of "work" and "focus" and also relaxation finally, a feeling of happiness. -
Robert the shifting exercise is a bit of a challenge for me. I wasn’t sure if I should keep playing notes while the thumb wasn’t supporting. But that just feels so strange. I will slow it down and keep drilling till I get it.
thanks for your encouragement and advice
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Nick
Nick:
The right hand could be more side ways when approaching the strings, right now the hand is vertical to the strings, try to strengthen the arm a little, right arm. So fingertips of I M A fingers could approach the strings with a more side angle!
Amazing Spider!
Love how you practice shifting!!! You clearly have high standards for yourself! I can feel the details you are putting into your fingertips.
All great!
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My attempt at Etude no 1. This was much more difficult than I expected. It totally ruined me. I hear all kinds of annoying string noise and ringing now. I've never paid much attention to it before.
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Nick I quite like this and how it sounds! Next level we want to practice slower with metronome, to clean up all the minor details in between notes. Sometimes it is harder to play slower. The mutes are amazing!
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TY Zhang I really appreciate you for taking the time to view my videos. Tonebase if far exceeding my expectations. I am making the adjustment in my hand/arm position and working slower with a metronome on the Carcassi. I feel like these 2 week intensives are really leveling up my playing. Thank you! Your comments and videos are super helpful.
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Nick Thank you Dear Nick!!
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Here is the link for the Zoom Check-In with TY on Sunday, July 24th 3pm EST / 12 noon PST!
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Sorry, unfortunately I was not able to join the Zoom meeting due to technical issues with my PC. I really appreciate all your effort to help us in improving our play by video comments and Zoom contact etc. Thanks!!
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Robert Oh Don't worry Dear Robert! Martin has put up the Zoom recording on here in the Pinned Comment!
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So....regarding measures 18, 20 - 22 of the Carcassi etude no 1: the first half of the measure looks like a triad and the second half a scale. Do you use legato on both or just the scale part? I kinda feel like the chord should ring.
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Hi TY, hi group,
I am following TY's nice suggestion: here is a small part from one of the pieces that I am currently working on. It is Torroba's "Montemayor", and the aspect of playing legato is important throughout the entire piece. I picked the bars 17-18 (with 16 as end of the previous phrase and even some notes after 18 for ending the current phrase). They are looking quite simple, two parallel lines in bass and treble notes, but (for me) it is not that easy to play that really convincing as a legato line and furthermore there is a problem with some squeaks on the bass string sometimes. I tried do use my LH fingers as guide fingers, but I think I have to lift at least the bass finger completely in order to avoid that squeak, right? I have not practiced that so far. So the video is reflecting the current state, and for avoiding a "lucky shot" I recorded 4 or 5 sequences and used also different camera angles.
Thanks for comments,
happy and succesful (legato) practicing
Robert-
Robert thanks for sharing your video. I am not familiar with this piece. I’m sure TY has some advice for you on this but Martin talks about programming the chords into your hands in his workshop on improving left hand fitness with Villa Lobos (https://app.tonebase.co/guitar/live/player/martin-zimny-left-hand-workout) at 1:21:40 if you haven’t seen that one yet. That might help reduce the string noise if you don’t need to leave the guide finger down.
I imagine there is some trade off between achieving legato sound and avoiding string noise with large hand movements.
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