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    Paolo Pegoraro-Music and Technique Together

    Uploaded by

    Eva Baronio
    The document discusses various techniques for guitar warm-ups and practice exercises. It recommends warming up the body, hands, and fingers through stretches and exercises. Warm-ups should include slurs, scales, arpeggios, and finger independence drills for both hands. The document also provides examples of ornamentations, tremolo patterns, changes of position, and rasgueado techniques for technical development. The overall goal is to integrate technique with musical expression and phrasing.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Paolo Pegoraro-Music and Technique Together

    Uploaded by

    Eva Baronio
    181 views70 pages
    The document discusses various techniques for guitar warm-ups and practice exercises. It recommends warming up the body, hands, and fingers through stretches and exercises. Warm-ups should include slurs, scales, arpeggios, and finger independence drills for both hands. The document also provides examples of ornamentations, tremolo patterns, changes of position, and rasgueado techniques for technical development. The overall goal is to integrate technique with musical expression and phrasing.

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    Paolo Pegoraro-Music and technique together

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    The document discusses various techniques for guitar warm-ups and practice exercises. It recommends warming up the body, hands, and fingers through stretches and exercises. Warm-ups should include slurs, scales, arpeggios, and finger independence drills for both hands. The document also provides examples of ornamentations, tremolo patterns, changes of position, and rasgueado techniques for technical development. The overall goal is to integrate technique with musical expression and phrasing.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    181 views70 pages

    Paolo Pegoraro-Music and Technique Together

    Uploaded by

    Eva Baronio
    The document discusses various techniques for guitar warm-ups and practice exercises. It recommends warming up the body, hands, and fingers through stretches and exercises. Warm-ups should include slurs, scales, arpeggios, and finger independence drills for both hands. The document also provides examples of ornamentations, tremolo patterns, changes of position, and rasgueado techniques for technical development. The overall goal is to integrate technique with musical expression and phrasing.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 70

    MUSIC AND TECHNIQUE

    TOGETHER
    MUSIC IS
    TENSION AND RELAXATION
    “TECHNIQUE”
    IS JUST THE ABILITY
    TO MAKE
    THE CORRECT MOVEMENTS
    IN THE CORRECT MOMENT
    THE MOVEMENTS
    HAS TO BE WITH
    TENSION AND RELAXATION
    SYNCHRONISM
    AND BREATH
    ARE VERY IMPORTANT
    THE BODY
    IS THE FIRST INSTRUMENT
    KEEP ATTENTION
    IN EACH PART OF
    THE BODY
    BODY
    BACK
    HEAD
    LEGS - FOOT
    SHOULDERS
    ARMS - ELBOWS - WRISTS
    HANDS - FINGERS
    ARTICULATION AND
    FLESSIBILITY
    OF THE SOUND
    ARE VERY IMPORTANT
    PART OF THE MUSICALITY
    IS THE ABILITY TO MAKE
    THE BEST CONNECTION
    BETWEEN THE NOTES
    THROUGH THE GESTURES
    TECHNIQUE
    IS THE CONTROL OF THE
    GESTURES
    THE MUSIC FOR GUITAR
    IS MADE BY
    THESE ELEMENTS:
    SCALES
    ARPEGGIOS
    CHORDS
    SLURS
    MELODY WITH ACCOMPANIMENT
    POLYPHONIC MOVEMENTS OF THE VOICES
    CHANGES OF POSITION
    ORNAMENTS
    VARIOUS EFFECTS:
    HARMONICS, RASGUEADOS, PIZZICATO, TAMBORA, TREMOLO, …
    THE OBJECTIVE THINGS
    TO EXPRESS THE MUSIC
    ARE:
    DYNAMIC
    AGOGIC
    ARTICULATION:
    LEGATO AND STACCATO
    METRICAL ACCENTS
    QUALITY OF THE SOUND
    GOOD USE OF THE TIMBERS
    VIBRATO
    STYLE OF THE PERIOD
    MUSICAL FORMS
    THESE OBJECTIVE THINGS,
    ALL TOGETHER,
    PRODUCE A
    SUBJECTIVE RESULT
    THE PHILOSOPHY OF THE
    WORK IN VERY IMPORTANT
    FOR SOME PLAYERS
    THE PHILOSOPHY IS:

    PLAYING FAST
    WITHOUT MISTAKES
    FOR SOME OTHERS
    THE PHILOSOPHY IS:

    PLAYING
    TO EXPRESS HIMSELF,
    FINDING THE MOST BEAUTIFUL
    ARTISTIC RESULT,
    WITH RESPECT FOR THE MUSIC
    AND THE COMPOSER
    PRACTICE WITH ACCURACY
    AND IDENTIFIES YOUR
    GOAL
    EVERY TIME
    YOU ARE PLAYING
    FEELING, SENSIBILITY,
    INTUITION AND INSTINCT
    ARE IMPORTANT
    IN THE DAILY WORK
    HOW TO START THE WORK
    STRETCHING:
    BODY
    BACK
    SHOULDERS
    ARMS
    FINGERS
    WARM UP: LEFT HAND
    SLURS WITH EMPTY STRINGS
    PULL ON AND OFF
    ALL COMBINATIONS
    0-1/0-2/0-3/0-4
    1-0/2-0/3-0/4-0
    WARM UP: RIGHT HAND
    EMPTY STRINGS
    REPEAT EACH FINGER MANY TIMES
    DIFFERENT SPEEDS
    WITH DYNAMIC
    WITH AND WITHOUT PLANTING
    WARM UP: RIGHT HAND
    EMPTY STRINGS
    DIFFERENT SPEEDS
    WITH DYNAMIC
    WITH AND WITHOUT PLANTING
    WARM UP: LEFT HAND
    JUMP ACROSS THE STRINGS
    PLAYING LEGATO
    WARM UP: LEFT HAND
    SLURS: ASCENDING AND DESCENDING
    1-2/2-3/3-4/1-3/2-4/1-4
    0-1-2/0-2-3/0-3-4/0-1-3/0-2-4/0-1-4
    0-1-2-1/0-2-3-2/0-3-4-3/0-1-3-1/0-2-4-2/0-1-4-1
    DIFFERENT SPEEDS
    WITH DYNAMIC
    VARIANTS 1
    VARIANTS 2
    OTHER COMBINATIONS:1-3-2-4/1-4-2-3
    VARIANTS 3
    OTHER COMBINATIONS:1-3-2-4/1-4-2-3
    WARM UP: RIGHT HAND
    ARPEGGIOS: P-I-M-A / P-I-A-M
    P-M-I-A / P-M-A-I / P-A-M-I / P-A-I-M
    DIFFERENT SPEEDS, ACCENTS AND RHITMS
    WITH DYNAMIC
    CARCASSI: ETUDES OP. 60
    FOR ARPEGGIOS, SOME FORMULAS:
    P-I-M / P-A-M / P-I-M-A / P-A-M-I
    P-I-M-A-M-I / P-M-I-A-M-I
    P-I-M-I-A-I-M-I / P-A-M-A-I-A-M-A
    CARCASSI: ETUDES OP. 60
    FOR SLURS
    LEFT HAND
    FINGERS INDIPENDENCE 1
    LEFT HAND
    FINGERS INDIPENDENCE 2
    LEFT HAND
    FINGERS INDIPENDENCE 3
    SIMPLE SCALES
    SYNCRONIZATION
    DIFFERENT RYTHMS
    DIFFERENT COMBINATIONS FINGERING RIGHT HAND
    SOME COMBINATIONS:
    TWO FINGERS: I-M/M-A/A-I//P-I/P-M/P-A
    THREE FINGERS: P-M-I/P-A-I/A-M-I/M-I-A
    FOUR FINGERS: P-A-M-I/A-M-I-P/P-M-I-A/A-M-I-M
    RYTHM PATTERNS 1
    WITH DIFFERENT ARTICULATIONS
    RYTHM PATTERNS 2
    WITH DIFFERENT ARTICULATIONS
    RYTHM PATTERNS 3
    WITH DIFFERENT ARTICULATIONS
    RYTHM PATTERNS 4
    FOR FINGERING P-A-M-I
    SHORT SCALES 1
    SHORT SCALES 2
    CHROMATIC SCALE IN OCTAVES
    SCALES WITH SLURS 1
    SCALES WITH SLURS 2
    DIFFERENT ACCENTS
    DOUBLE SCALES
    DOUBLE SCALES
    RYTHM PATTERNS
    GIULIANI: GUITAR METHOD OP. 1
    CHANGES OF POSITION
    WITH EMPTY STRING
    CHANGES OF POSITION
    WITH FIXED FINGER ON THE STRING
    COMBINATIONS: 1-2/1-3/1-4/2-3/2-4/3-4
    CHANGES OF POSITION
    ACROSS DIFFERENT STRINGS
    WITH DIFFERENT FINGERINGS
    BARRE’
    TREMOLO
    TREMOLO PATTERNS 1
    TREMOLO PATTERNS 2
    ORNAMENTS: LEFT HAND 1
    ORNAMENTS: LEFT HAND 2
    ORNAMENTS: LEFT HAND 3
    ORNAMENTS: LEFT HAND 4
    ORNAMENTS: RIGHT HAND 1
    ORNAMENTS: RIGHT HAND 2
    VIBRATO 1
    VIBRATO 2
    VIBRATO 3
    VIBRATO 4
    VIBRATO 5
    SLOW VIBRATO, FAST ARPEGGIO
    FAST VIBRATO, SLOW ARPEGGIO
    RASGUEADO 1
    RASGUEADO 2

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