Group 2

Unlock the secret to virtuosic guitar playing in this exclusive Two-Week Intensive Course, "Improve Your Two-String Trills with Peter Graneis." Led by renowned guitarist and educator, Peter Graneis, this comprehensive program is designed for guitarists looking to elevate their skills and add a new dimension to their playing.

Course Highlights:

🎸 Masterful Two-String Trills: Dive deep into the art of creating seamless trills between two strings. Peter Graneis will share his expert techniques and insights to help you develop precision, speed, and control in your trill execution.

🎵 Technical Exercises: Strengthen your finger independence and dexterity with a range of specially crafted exercises and drills, tailored to enhance your trill proficiency.

🎯 Personalized Feedback: Receive individualized feedback and guidance from Peter Graneis to address your specific challenges and goals. Take your trill technique to the next level with personalized coaching.

🌟 Networking Opportunities: Connect with fellow guitar enthusiasts and musicians, fostering a supportive community of learners.

Don't miss this extraordinary opportunity to enhance your guitar skills and leave a lasting impression with your two-string trills. Join Peter Graneis for this Two-Week Intensive Course and embark on a transformative musical journey.

Enroll now and unlock the potential of your guitar playing like never before!

Timeline:

  • Sign-Up : NOW until Feb 18th
  • Course Period: Feb 19th - March 1st
  • Optional check-In via Zoom: Feb 26, 10am PST

Assignment Week 1

worksheet 1

Assignment Week 2 

worksheet 2

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  • ok, cool.  This is the pattern in Joseph Williams' Zia and the one taught by Joseph Palmer in his first TB video. I'm fascinated by this approach and have spent time working with it.  It is NOT as natural as the a-i-m-p approach since it involves a negative string crossing between m and i.  But I'm open to it.   

    Another approach difference is that I do tremelo using p-i-m-a, not p-a-m-i, since I can go much faster with it.  So this a-m-i-p isn't like my tremelo.   

    But I get the logic of going a-m-i-p.   Looking forward to more. 

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    • Dave McLellan hi Dave, thanks for sharing your personal experience, I hope this will prove useful or at least interesting to you. 
       

      I try to stay away from generalizing what should feel more or less comfortable or natural, my experience has shown me that this is  a technique that works well for many, but there absolutely are other useful approaches as well. 

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    • Peter Graneis Sorry I didn't mean to suggest amip isn't useful and a good approach that works for many.  Palmer flies with it.  it's the negative string crossing with i and m that trips me up, with a really short i finger, I have a long way to reach.  but I love working with it just because IT'S ANOTHER TOOL!  

       

      I am certain this will be a fun session.  

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  • Hi Peter!  I am comfortable doing cross string trills aimp.  May I just practice your exercises using my fingering?   I’m trying to avoid negative string crossings, although they are not a problem for me.  I am working on the 32nd note passages of the Chaconne, and my teacher just suggested that I avoid negative string crossings by incorporating more slurs and the a finger.  It’s a challenge for me to relearn.

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    • Marilyn Blodget Hi Marilyn,

       

      I wouldn’t want to interfere with your guitar lessons, of course you can stick to the technique you already know. I think the principles of aimp and amip are close enough so that the exercises I wrote down can be applied to your fingering as well. 

      Like 1
  • This was so much fun this morning, I blew my first session budget by spending twice my allocated time on amip.   I use the accent over 5 by just thinking quintuplets, and accent over 3 by thinking triplets.  

     

    to Marilyn Blodget it's definitely worth practicing the patterns both ways. but you gotta stick with what works in rep, especially the Chaconne. 

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  • Hi everyone, 

    mit was a fun checkin today, keep your exercises and questions coming and I’ll answer/comment. 
     

    like I promised, I filtered my list of recommendations down to a very short and colorful selection of pieces. I encourage you to recycle pieces you already know and am looking forward to your results!

     

    Baroque Repertoire:

     

    Bach: BWV 1006 - Loure

    Scarlatti - Sonata K208

     

    A good exercise is adding ornaments where they shouldn’t be: Sor op. 60, etudes 1&2

     

     

    (Also for switching thumb positions and trilling whilst playing a bass line): David Kellner - Phantasia in D-Major

     

    maybe we can fill this list throughout the week, feel free to contribute!

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    • Peter Graneis Bummer I could not join due to a rehearsal at the same time.  was the session recorded and how can we listen to the recording. 

       

      I have shared Joseph Palmer's video of the Zozobra movement of Zia by Joseph Williams. this movement demonstrates the phenomenal sound of the pami cross-string trill.   This is what got me thinking about this a couple of years ago. 

       

      https://youtu.be/aXcOypGXFZE?si=mMD6eSreW5nu8SUF

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    • Dave McLellan hi Dave, it was recorded and I’m sure it will be up soon!

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    • Peter Graneis excellent. thanks Peter!    

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  • Hi everyone, this marks the end of our course, I’m sure Martin will post the video soon. I hope this was helpful and inspired some of you to make it part of your technical repertoire. 

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  • Thanks Peter for these very useful exercises, I was not able to join the check in, but planning to see the recording . I have practiced the exercises and will incorporate them in my rutine going forward.  

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