Post by Alcibiades Post by Cemail@example.com Post by firstname.lastname@example.org Post by Alcibiades
What's the single best exercise for the rh, the one with the widest
possible benefits? VL #1?
That thought ran through my mind. I dare say you're correct. Please
keep in mind, this NG as a whole doesn't like to practice scales. You
very seldom see good scale questions. In fact, if it doesn't relate
to scale velocities there are hardly any scale questions. I'm sure
you're speaking to liquid, pearly scales and Segovia's directives and
purposes in the development of both hands.
People want to argue the merits of this or that's guitarist scale
system. But what determines whether a scale system does or does not
have merit is our understanding of it's purposes. I described one of
those purposes last week. There are others but I want to see someone
else post them.
And are you of the opinion that the Brouwer/Paolini et al. scale
exercises compare favorably to Segovia's.
You can research the back pages and see my use of the term " the
paradox of scales". Most here had no idea what I refered to, but of
course you do now. The Segovia scales work very well for developing
both hands and shaping the framework of the left hand which is
critical for scales because it makes for consistent finger finger
placement with kinesthetic awareness which _tells us_ what to do to
A very interesting little detail. In the original Columbia 24
Segovia Scale publication, in the foreword Segovia writes why and how
to practice the scales. Segovia also mentions the "holocaust of pure
work". That sentence has been removed in later editions. I think it
was an important detail.
The Brouwer/Paolini method details rythmics, forms and velocity. I
might mention what's called the "Presti scale technique" and Sila
Godoy's awesome three finger free-stroke scale technique, not
forgeting the flamenco picado or "stabings". After years of work most
people will arrive at their own style. Btw, in the Brouwer/Paolini
they mention lightness in velocity. I mentioned the week long daily
masterclass I took with Brouwer in the back pages... It required his
direction for me to really grasp what's in that method. If I hadn't
had those great teachers I'd still be muddling around flustrated and
lost. The trick is to add weight after lightness. In other words to
really have the "stuff" you need to absorb yourself in the work. The
drawback of course is becoming self-absorbed with your work.
Btw, a friend informs me Leo is in Cuba, very sick. He's about 69
Countless students, of my generation, were misdirected by the Segovia
scales. In most cases it was because they didn't understand the
purpose of those scales, the strategies of the hands, and the
geography of the fretboard.