Maintaining learned repertoire is essentially the same as learning new repertoire (above), but less time is required except in those areas where changes have been made. It is important to continually read through the music slowly since unconscious changes do occur over a period of time.
There are numerous ways to use the above information. For example, any of the old or new repertoire can overlap into "Fundamental Technical Studies" by extracting and making a study of sections which need attention.
In some instances a whole piece could be used as a study, as in the case of a Villa-Lobos etude. In "Learning New Repertoire," the instructions to read the music without the guitar is an important concept. Eurythmics gives a musically secure foundation upon which to learn the composition. Also, a great deal of time is saved by the rehearsal of difficult rhythms, the discovery of poor fingering, etc.. The early recognition and reconciliation of these difficult or awkward areas by this method will speed up the learning process, and will eliminate the later
"undoing" of wrongly learned material.
In "Maintaining Learned Material" I am assuming the pieces were learned correctly. If there are less than ten peices in the repertoire each piece can be covered sufficiently in a week's time using the described procedure. If there are more than ten pieces, the student must pace himself carefully during that period, giving the greatest attention to the less secure portions of each piece. Repertoire is an investment in time (potentially, money in the bank), and will yield a return in artistic recognition, musical satisfaction and eventually support for the profession when the time for performance arrives.
Additionally, I advise my students to spend at least 1 0 - 2 0 minutes each day reading new material. Remember, your reading level should be somewhat near your technical ability.
For the teacher who is preparing a student for a new study or piece and uses this outline or a variation of it, ask yourself the following questions:
1. Does this work logically follow what the student has learned?
2. Is the student ready for this study or piece?
3. Why am I giving the student this study or piece?
The degree to which the teacher is prepared to answer these questions demonstrates the degree of responsibility to his/her students. That is the ultimate basis of any teacher's reputation.
CHRISTOPHER BERG
Graduate of the Peabody Conservatory of Music. Guitar studies with Aaron Shearer. First guitarist to receive the Master of Music degree from Peabody. First guitarist to win the MTNA National Guitar Competition (1977). Concerts and concerto appearances throughout the United States. Currently is Assistant Professor of Music at the University of South Carolina.
Christopher Berg states that although many guitarists are aware of the necessity of moving smoothly and accurately from one string to another, rafely has string crossing been the sole focus of a technical exercise. He points out that a common symptom of faulty string crossing is the inability to play scales which cross the strings as rapidly as one can play notes on a single string. To help deal with this problem. Mr. Berg contributes the following comments and exercises:
Assuming one has a comfortable right hand position on any given string, try to keep this same position for each string. This is accomplished by the basic technique of moving the forearm from the elbow. Strive to maintain the same wrist and fingerjoint relationship as when playing on a single string. The exercises below should be studied with both free stroke and rest stroke.
P R E L I M I N A R Y E X E R C I S E S
On a single string practice the right hand patterns of i-m. m-a, i-m-a, a-m-i, i-m-a-m, i-a-m-a, and a-i-m-i.
The cultivation of these patterns cover every possible string crossing situation. (Although other right hand patterns can be devised, practicing them would be superfluous. For example, the finger movements for m-a-i are the same as for i-m-a. The difference is simply starting the pattern with a different finger.)
= 4 = * 4
1
Use rhythm patterns of triplets and sixteenth notes. This will require Dlaying the triplets with the right hand patterns that use an even number of strokes (i-m, m-a, i-m-a-m, i-a-m-a, and a-i-m-i), and will require playing the sixteenth notes with right hand patterns that use an odd number of strokes (i-m-a and a-m-i). Note that the accent should shift from finger to finger.
| :m *m *m
Now practice crossing all six strings ascending and descending with the patterns studied above. It may be helpful to begin practice with i-m and then proceed with the more difficult patterns. Think of crossing as you play the last note on a string. Remember to make a definite movement from the elbow.
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3 3 3 3
To relieve the tedium of open strings and to practice left hand endurance, finger chords employing the full bar and ascend by position.
BI © .
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Ascend to IXXT O -T R A N S V E R S E S C A L E S
When the above can be done as a matter of habit, practice transverse scales (scales that move across the strings) in groups of three and four notes with the above right hand patterns. It is preferable to begin with scales that leave the left hand in one position, (as in example below) but longer scales may be utilized if desired. Make certain that the groups of 3 or 4 are clearly discernible.
©.
Remember! Practice slowly and carefully to allow the various techniques involved to consolidate. How these exercises are studied is of more importance than what is being studied.
CHRISTOPHER AMELOTTE
Guitar soloist, teacher, and co-author of the Christopher Parkening Guitar Method. A graduate of the prestigious University Of Southern California, Mr. Amelotte holds the first degree in classical guitar performance awarded in that school's history. He has traveled extensively throughout the United States as soloist and as representative for the guitar importer Antigua Casa Sherry-Brener of Chicago. Currently Mr. Amelotte resides in San Diego, California where he is active as owner of the International Guitar Shoppe.
Christopher Amelotte s close association with many famous guitarists has given him keen insights into numerous aspects of guitar performance. For this text he contributes some valuable thoughts on the problem of nervousness.
This section should not be studied only as performance-time draws near, but should become a part of regular practice habit and attitude. Mr. Amelotte states:
There is a common visitor in the life of most guitarists shortly before performance time. This visitor is hardly • welcome one, as it seems his one goal is their distinction. I speak, of course, of nervousness. My advice is this: BE P R E P A R E D F O R HIS A R R I V A L ! Unfortunately, merely hoping for the absence of nervousness does not provide an adequate defense. Also, some guitarists feel that being nervous is a flaw in their character and are therefore reluctant to recognize their condition. If you are a victim of nervousness (and most guitarists are) then deal with i t The following suggestions have been very helpful to me and my students:
L O N G T E R M P R E P A R A T I O N L P R A C T I C E S E C U R E L Y
A . Eliminate excessive motion. Maintain close proximity of both hands to the strings.
B. Work out every detail of the music. Leave nothing to the imagination.
C. If you are making mistakes in practice expect to make them when performing. Don't be surprised.
II. L E A R N TO D R O P T H E RIGHT H A N D
Nerves tend to contract the hand, giving one the illusion that the strings have been relocated about mA further than where they are supposed to be. If you are used to carefully lowering the fingers to the u . u p i could be disastrous. However, i f you let the weight of the right hand "drop" the fingers to the 1 1 i Jftr location of the strings will be more sure.
III. I N D U C E P R E S S U R E
A. Simulate the physical conditions of performing. What do you feel like when you are nervous? D o shoulders tighten? Then tighten your shoulders. Does your breathing become shallow? Simulate that Do your fingers become stiff? Make your hands tense. Now, what do you do to overcome these Relax your shoulders. Breathe deeply. Etc., etc.
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B. Simulate environmental performance conditions as much as possible. This includes walking on and off stage, acknowledgement of the audience, quiet surroundings, even a desk lamp in a dark room i f you are going to be performing in a spotlight.
C. Record your simulated performances. This will both increase pressure as well as provide you with an indication as to how you sound to the ears of the listeners.
D. Test your performance on friends and relatives. The shock of performance pressure can be cushioned or eliminated by conditioning yourself through pressure-induced practice performances.
IV. PIECE SELECTION
A. Bo a realist. Do not attempt to perform pieces that are above your performance ability. (Understand the difference between technical ability - what you can play in the practice room — and performance ability — what you can play under pressure.)
B. If you are playing several works, begin with a secure piece, particularly with regards to the right hand. Be cautious about beginning the program with a new piece. Most performers open their programs with a piece that they have played for some length of time.
SHORT TERM PREPARATION