Exercises for Right and Left Hands

This is the fourth of a series of technique exercises for the guitar and possibly for
other stringed instruments. This one focuses more on the the left hand (finger
independance) than the right (there are suggested fingerings on the score for this hand).
Just as with all the previous exercises, reasoned and conscienscious study is the
way to obtain both technical and most importantly musical command at the same
time avoiding faulty movements and gestures.

Preludio en Forma de Rondó - D. González

The "Preludio en Forma de Rondó" was composed by David González (Madrid, Spain
Oct. 3rd, 1973) in October 2005. He is a concert guitarist, vihuela player, composer and
music teacher. David has also written for solo guitar: "Metamorfosis", "Manos de Pez",
"Quietud" and "Visiones" all completed recently in 2012 and based on texts and poems
by Eduardo Yagüe. You can find more information on David at
http://daguit2003.blogspot.com/
The musical form of the "Preludio..." is divided into 5 sections. Section A (Em, 3/4 and
4/4), B (Em 3/4, 12/8 and 6/8), A' (E 3/4, 4/4, and 2/4), B' (E and Em, 3/4 and 12/8) and
C (coda in 3/4, atonal). The overall structure of the piece is very suitable for the guitar
and is written with a personal style and is an excellent example of modern-day 21st
century music. Many thanks David!

Exercises for Right and Left Hands

This the third of my various technique exercises. The first 2 were posted on 01/03/14
and 02/13/14. Here you'll see 4 different exercises (exer.1 & 3 are on open strings and
exer. 2 & 4 require the use of the left hand). Special attention should be paid to the
rhythm in exercises 3 & 4. While playing these exer. the right hand shouldn't move
(unless you're trying out different sounds either close to the bridge or the soundhole),
and the left hand should be completely relaxed keeping he thumb opposite finger 2 at
all times.

CHRISTIAN LAREMONT earned 5-stars on GigMasters! Check it out!

CHRISTIAN LAREMONT earned 5-stars on GigMasters! Check it out!

Hillsborough, CA March 22, 2014

This picture was taken in Hillsborough CA on March 22, 2014. I played
principally a Spanish repertory in a beautiful outdoor setting. The pieces
included were Pavana I (Milán), Intro. and Variations on the Magic Flute
(Sor), Homenaje (Falla), Torre Bermeja (Albéniz), Asturias (Albéniz),
and Fandango (Rodrigo). Many thanks to SF Arts Collective and
Amanda Perez for inviting me to play.

Interview on Spanish National TV with Regino Sáinz de la Maza

You might ask why have I posted an interview on Regino Sáinz de la Maza (1896
Burgos- 1981 Madrid). There are many reasons.
In the first place, he was one of Daniel Fortea's (1878-1953) most outstanding
students. It's important to remember that Fortea's maestro was Francisco Tárrega
(1852-1909) composer and virtuoso guitarist who laid down the foundations for
20th century classical guitar, and is considered to be the "Paganini" of the modern
guitar due to his many technical and musical contributions.
In addition to this, Regino taught my current maestro Domingo Carbajal.
Also Sáinz de la Maza has earned a mark in history by playing the premiere of  J.
Rodrigo's Concierto de Aranjuez (1940); Rodrigo dedicated the concerto to
Regino.
At the end of the interview you can watch him interpret a piece by Fernando Sor
(Minuet Op. 15).

Exercises for Right and Left Hands

These exercises for both hands start off with the right. Once these are learnt then
continue on with the left, finally adding both hands. The formulas and arpeggios for
the right hand will be played over a 4-note CM7 chord (and it's inversions).
D. Carbajal once told me in class, "the right hand should be considered as a
string quartet..." (thumb or p: the chello; index or i: the viola; middle or m: violin 2;
ring finger or a: violin 1). "Protagonism among the 4 instruments changes and
varies depending on the musical circumstances of a particular piece." That means
we have to be able to find the right balance avoiding the bass strings to"drown out"
the treble strings.

Diatonic Scale

This is the first of various technique exercises I'll be posting dedicated to, in this
case, the major scale. I recommend doing the exercise first with the left hand only,
then working on open strings with the right hand using 2, 3, or even 4 fingers for
each group of 16th notes. See exer. 2 (i=index, m=middle, a=ring finger p=thumb).
Dynamics, tempo, accenting and musical phrasing are all important variables that

should be worked on and undergo experimentation.