Group 1

Rajesh Puranik Hi Rajesh, Glad you're working on the Giuliani, l'd
recommend apply these exercises to one or two of the
first 10 Giuliani studies - keep it simple at first.
Regarding your question, what you're describing is often
referred to as "full preparation". It is very good to practice
too, but like you suspected, it's not useful in each and
every musical context. For instance, if you're playing
something extremely fast, it can be useful, but for slower
passages, not so much because of all of the muting. Hope
that helps!

Derek hey Derek - great! Happy you joined! That’s a great one to practice this one. I love a lot of those bardenklange pieces. “Abenlied” is gorgeous as well. My personal favorite is “Unruhe”

joosje Hi Joosje, you're very welcome! If you're asking about the Villa-Lobos etude 1 preparation, yes, one finger prepares after the next. You might be confusing some other piece of advice as I can't imagine how you could prepare all of your RH fingers at once in Etude 1 by villa lobos. In prelude 4 by VL you could however, and both ways of preparation I(sequential and full prep) are useful to practice.

JUAN ALONSO Juan, first off, great job! You’re doing a great job with the accents and your hands are quite relaxed.

my main feedback for you is about how you create the sound on the guitar and the resulting motion from the way you’re creating sound. For instance, when you accent any finger, you are plucking “up” on the guitar rather than pushing the string further into the guitar. The problem here is that when you pluck “up” and away from the guitar, your hand gets further from the strings. Of course, this is a slight problem when we are trying to build efficiency. You can identify these types of problems by watching for your hand “bouncing” up in the air rather than staying stable. Try and “push” the string deeper into the guitar (towards the soundhole) to create louder sounds rather than “snapping” the string away from the soundhole. You might like to check out one of the classes here on tonebase about sound production - I’m sure martin could point you in the right direction (no pun intended!) 

Nick Nick, first off, congratulations on your progress. You’re doing a great job balancing between all of those things to concentrate on.

that being said, you’re doing quite well! My recommendation would be to try and focus on just one thing at a time. For instance, it’s not important to play many bars of the piece - just focuses on the first chord or two to keep the harmony interesting so that you can focus on the real point of the exercise - preparation and building the independence of each finger.

I would also take it a hair slower - on some of the fingers accents (when you’re accenting ‘m’ for example, you’re often accenting the next finger a hair too much as well (in this example - the ‘a’ finger). 
 

great work overall and keep it up! Keep it slow, controlled, and deliberate. Thank you!

Evan Taucher thanks. I have backed way off on the speed to the point that my brain can actually consistently register my thumb plant. I worry sometimes about the practicality of the exercise if it’s not up to speed.

I will pay attention to the accents. Thanks again

Derek hey Derek! Looking good! Your hands look very relaxed and that’s quite nice to see! 
2 big points to focus one:

1) make sure you are playing perfectly with the metronome on the clicks. More often than not, you’re beating the metronome to the punch. Solving issues here will solve many other music and technique related issues. Hope that helps

2) when plucking one finger (starting with p in this example), make sure to prepare the next finger on the next string *immediately*. So in the first video, make sure i prepares immediately after p plays, then m prepares immediately after i plays, and so on. 
 

best of luck on the continued work, and thanks for the videos and great angle!