Level 4 - List Of Pieces (+ Discussion Space)

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What to expect:

Level 4 lessons develop more advanced arpeggios in the right hand, more finger independence and full barres in the left, as well as the more frequent use of slurs and natural harmonics.

Description:

Level 4 lessons will have more focus on developing essential left hand skills like slurs with all four fingers, finger independence and stretching. These lessons will also work on developing comfort playing in seventh position. These lessons will also feature more frequent use of compound meters, and develop full barre technique.

Skills covered:

  • positions I-VII (left hand)
  • intermediate arpeggios (right hand)
  • slurs with 1-2-3-4 fingers (left hand)
  • full barre (left hand)
  • natural harmonics (left hand)

Selection of tonebase Level 4 Courses:

(In alphabetical order)

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Questions:

↓ Reply below to ask any questions about this level, or to get a second opinion from fellow users! ↓

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    • Jan C Smith
    • Retired
    • Jan_C_Smith
    • 1 yr ago
    • Reported - view

    Bahar's lesson on Sor's Study Op 35 No. 17 was very good in demonstrating the balance and finger positions.  The one problem I have is the emphasis on not playing open strings.  The included Tab seemed to take a simplistic approach and uses many open strings.  I'm trying to enhance the tablature but get a little confused on which "D" to play on the string/fret application.  

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    • Jan C Smith
    • Retired
    • Jan_C_Smith
    • 1 yr ago
    • Reported - view

    Replying to my own note:  I went to Music Notes and bought the sheet music with tabs by Michael Chapdelaine. He references in the tabs the 5th & 7th frets and it compliments Bahai’s lecture perectly

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      • David Krupka
      • Amateur guitarist/lutenist
      • David_Krupka
      • 1 yr ago
      • Reported - view

      Jan C Smith There's no doubt that tablature has the advantage of indicating unambiguously where a note is to be played on the fietboard. Although it is possible to indicate this using conventional notation (i.e. through the use of circled numbers representing the strings) many 19th century scores omit such detail. Because of this, we don't know with any certainty what a composer like Sor intended in this regard. In my opinion, a good rule-of-thumb for any early 19th century music is to use open strings whenever possible, as it suits the style. But in the end, it's up to the performer to decide what works best, in both a technical and a musical sense. When it comes to fingering, it's not generally the case that there is a single 'correct' solution. We all need to find what works best for ourselves.

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