#16
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You guys might like this very helpful and encouraging of creativity video.
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Denise Martin HD-28V VTS, MFG Custom Taylor 358e 12 string Martin 00L-17 Voyage Air OM04 Breedlove Oregon Concert 1975 Aria 9422 |
#17
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2003 Froggy Bottom H-12 Deluxe 2019 Cordoba C-12 Cedar 2016 Godin acoustic archtop 2011 Godin Jazz model archtop |
#18
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Quote:
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Harmony Sovereign H-1203 "You're making the wrong mistakes." ...T. Monk Theory is the post mortem of Music. |
#19
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I studied with him for almost 2 years. I'm still trying to absorb everything he taught me. Lol
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2003 Froggy Bottom H-12 Deluxe 2019 Cordoba C-12 Cedar 2016 Godin acoustic archtop 2011 Godin Jazz model archtop |
#20
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Quote:
You're starting on C and then playing the note up a 4th from it which is G. The next scale degree after C is D. So you play D and then play the note a 4th up from that which is an G. Make more sense?
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The 3 elements of Western music include: melody, harmony, and rhythm. I play all 3 simultaneously in my fingerstyle covers. Check them out. Cheers! https://www.youtube.com/channel/UCcZ...rBJYC5yufPaVAg |
#21
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Quote:
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) |
#22
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Quote:
As far as extended scales there are differing opinions. Consider this: The Segovia scales are really just one particular path through the five scale forms. There are multiple possible paths. How are extended scales played? It depends on the music. It depends on choices of the performer. In a unique situation, perhaps one large jump is a good solution. Perhaps slowly moving through the forms is a better solution. Perhaps quickly moving through a couple of scale forms on a single string is a better solution. We just don't know until we see the unique passage we are trying to learn. For those reasons, some classical teachers say extended scales aren't important. Others say it is important to learn one way. And if you dig deep enough, they really don't disagree with each other. They both agree that practicing left hand shifts are an important technique. Some might practice them in extended scales while others practice them in other exercises. If you think about it, this is very similar to what many electric players do: especially shredders or metal guitarists. Although there are seven forms for them because the music, and the build of their guitars better allows for 5 fret wide boxes. Regardless, they know those seven forms just like everyone else (classical players included) know our five forms. And we all move through those forms to create extended scales in the easiest way possible unique to the situation. One final note: Aaron Shearer wrote a scale book an inch thick with many scales in all possible positions. The glue that holds the book together is the five scale forms (like CAGED). Not a single time are the forms explicitly mentioned. Not a single diagram is given. And I think that was a shame. To be fair, it is a very old book written in a different time. My point is, all classical players use the five scale forms (CAGED). |
#23
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2nds,3rds, 4ths........etc.
Looking though this post I'm realizing I don't some of the terms and what you mean by practicing 2nds, 3rds, 4ths........etc. is there any way you could explain what you mean by that or guide me to a link that explains it? Also I like the idea of practicing in the classical way other than by just the 4 fret box method. Do you know how I could get some info on that also? I under stand the idea but not really sure how the scale would go. Thanks for any help! I really want to get better at scales so any info would be great!
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