Week 2: Right-Hand Excellence with Ema
Elevate Your Technique with Two Expert-Led Weeks
Week 1: Left-Hand Mastery with Arturo
Discover the keys to left-hand relaxation and efficiency. Arturo will guide you through:
- Understanding hand anatomy and mastering optimal movement.
- The foundational concept of position "zero."
- Tackling technical challenges in notorious "uncomfortable" passages with practical solutions.
- Daily exercises designed to enhance left-hand awareness and precision.
Week 2: Right-Hand Excellence with Ema
Transform your right-hand technique with Ema's expert guidance. You’ll focus on:
- Building finger independence and fluidity for effortless right-hand movement.
- Practicing Giuliani’s arpeggio studies to improve control and precision.
- Integrating essential preparation techniques into your practice for lasting progress.
This is your opportunity to refine your playing with focused, actionable insights from top-tier instructors!
Course Period: January 20th - January 31st - No Signup needed!
Take Your Playing to the Next Level with Personalized 90-Day Coaching
If you’re ready to truly elevate your skills, consider taking the next step with tonebase Coaching. Participants in our coaching program get the chance to work one-on-one with Arturo or Ema over a transformative 90-day period, diving deeper into their technique and artistry. Don’t miss this opportunity to accelerate your progress!
Assignments:
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Ema's right hand exercises are posted!
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HI, Ema, thank you for these lessons and tips. Here's me trying Giuliani's exercises Nos. 2, 4, 7, 9, 31, 81 and 92.
One question regarding full planting and sequential planting. I suppose while playing a piece, we rarely do full planting? In exercise no.31, in the sequence PIMAMI,, do we do sequential planting with. AMI (as we move from bottom strings to upper strings) or do we play from the air?
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Nijwm Bwiswmuthiary
Hey Nijwm! Thanks for your video and questions. I answered everything in the video I'm posting now. There is also a tip on exercise no. 7 :)
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Ema Thank you for the feedback. Giuliani's Etude no. 5, Op.48 also has PIMAMI pattern, which I have been trying for a while now to get accuracy and tempo.
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Ema Hi Ema,
Thank you for doing this TWI on right hand technique...very important.
I watched your lesson on Cadiz by Albeniz. I love the music of Albeniz, so I enjoyed it very much!!
You have a wonderful sound and play the piece very beautifully. You lessons are very clearly and effectively delivered.
May I ask what model guitar and what specific strings are you using? The tone and balance are superb ( I'm sure your excellent technique, of course, is part of it...).
I would love to see more lessons on romantic Spanish masterpieces, if it is part of your repertoire. Thanks Ema!!
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Barney Hi Barney,
Thank you so much for your kind words! I'm very glad you liked the tutorials and hope they have been helpful!
I play on a Paco Marín guitar (50th Aniversario model) with D'Addario strings. The 2nd and 3rd are carbon and the rest is nylon. The combination works great on the guitar! But it did take time to get used to playing on a traditional guitar and actually getting it to sound how I want.
Before I used to play on a German double top guitar by Carsten Kobs.
Would love to do some more lessons on Spanish repertoire also! :) -
Ema Thank you Ema! Your tone is beautiful! Since there are so many different choices of D'Addario strings, which specific basses are you using?
Since you are talking about the right hand, will you be speaking about quality tone production?
Also do you ever do right hand cross string trills alternating between the G string and high E string? If so, how would you practice to increase the speed?
For example, if the trill has:
"i" on 3rd string (together with P on 4th string, or 5th string) , then "a" on 1st string alone, back to "i" on 3rd alone. This would be a triplet trill set (i-a-i, a-i-a, i-a-i), and repeat 3 times, but each time the bass would alternate between 4th and 5th strings on the first beat of each trill set (4--,5--,4--)
Hope this is clear, but just wondering how you would practice the trill to get up to 100-120 bpm. (I'm thinking careful preparation of the "a" finger on the E string for each trill triplet would help; what do you suggest?). Thanks!!
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Barney
Thank you, Barney! I use the Composite basses by D'Addario, hard tension. When I played on my previous guitar, I used EXP basses, but they got discontinued. I think now the equivalent to EXP are XT strings. I find that Composite works great on the Marín.
I think I get what you mean, I'll do a video later to make sure that I understand what you're getting at.
I'm a big fan of the metronome and dotted rhythms, especially double dots. Now, since it's in triplets, there are more possibilities for dotted rhythms. In the video, I'll show you what I would do.
But basically starting slow, practising dotted rhythms, then playing it as written and then increasing the speed a bit and repeating the process.
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Barney Here the video. Hope you find it helpful!
https://youtu.be/k9qgVu9hNyU?si=MyYkeRpXAungAoOj -
Ema Thank you very much for the strings info and the video. You understand the trill sequence exactly! I think the dotted rhythms with preparations and the variations you presented will be very helpful.
I really appreciate your help and expert guidance.
All the best, Barney
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Great presentation. I enjoyed it . I will take your tips and suggesting and apply them to my study. Again thank -you very much. I was going to video of myself but my video is down and my tech friend is not around. The Microsoft help people never return the calls.
Peter.
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peter hancock Hi Peter!
I'm very glad you enjoyed the videos!
Feel free to record yourself and post here once you've solved the problem. :)
I will be happy to give some feedback!
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I will try Thanks
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Hello Ema, thank you very much for this, I've only just started to have a look. Going right back to your 1st vid and the basics, when you plant, are you making any contact with your finger nails on the string or is the very FIRST contact only with the finger flesh very near to the finger nail?
Thank you.
Paul
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Paul Hi Paul, I'm not an expert but I think you plant with your flesh. Of course, while striking the string you'd want some sort of flesh-nail combo. But, planting with the nail first will give you sharp, screeching sound. So, planting with the flesh cushions your fingers on the string and gently dampens the sound. That's how I do it anyway. Hope that helps.
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End of the Year Challenge: Finish Strong!
