Villa-Lobos - Douze etudes - 12 studi (Max Eschig).pdf - Download as PDF File (.pdf), Text File (.txt) or read online. This is the first etude in a series of 12 by Brazilian composer Villa-lobos. Rather than tab the entire piece in full, which would be confusing, I'll explain the fingering pattern that persists for most of the song and tab out the two sections of the piece that break this fingering pattern. This is the prevailing right-hand pattern.
It would be hard to answer your question without knowing more about your own background, how much experience you have playing the guitar, whether you are working with a teacher or not, etc. The Villa Lobos etudes are not meant for beginners (not that I'm saying you are one, I just don't know your current level) so a beginner attempting them would probably just end up being frustrated and maybe even hindering his/her own progress.
As for my own approach for etudes in general, I prefer to choose etudes that target my weaknesses. What's the point of a didactic piece if it does not improve something that needs to be improved. I've studied Etude 1, 7 and 11 by Villa Lobos.
I think everyone should learn at number 1, since it's a great right hand workout and I often used that to warmup. As for daily exercises, don't feel like you need to do advanced exercises to reach an advanced level. Even after being able to play a few Villa Lobos etude, I still enjoy learning and relearning etudes by Sor, Giuliani, Aguado etc. Their etudes are good for daily exercise, great at improving technique while still being musical. Concert etudes like the Villa Lobos, I feel that they are more of a longterm project rather than just simple study pieces.
Practice all 12 at one go would probably be overkill for most of us. I'd rather choose one and work on it, while using other, simpler etudes as part of my daily warmup/practice/technical work. Etude 1 is for both hands, coordination, changing position while plucking the strings. Etude 2 and 3 is for the left hand also.
To play etude 2 and 3 fast, you need the Etude 7. Because Etude 7 has scale patterns. Practicing scales is the best way to improve your right hand speed. Practicing scales is a lifetime. Use rest stroke, use metronome to increase speed. Make sure the sound is even and clean. It's best to record your playing.
To prove my point, observe the flamenco guitarists. They can play scales very fast. Because it's part of their practice routine. Every classical guitarist should know at least basic flamenco skills.
Playing scales is one of them. It doesn't have to be very fast like Paco de Lucia. The most important is you can play it at a comfortable speed and at the same time maintaining the sound quality.
For example the Etude 2 version of Julian Bream is good enough. You can pick any scale pattern you like and practice it first at normal speed. To be able to play fast like Paco, Kazuhito Yamashita, Ana Vidovic it takes time. It's a lifetime. But we are not like them. They're masters so very important to take it slow but steady and don't be discouraged.
There are many videos in youtube about classical guitar scales. There's Matt Palmer, a classical guitarist who is very good at playing scales. He has some videos about scales.
Bwong wrote:Hi, thanks the advice for the scales studies, may I know how fast the speed of playing the scales should be established as target? No standard I believe, this has been discussed quite a lot before. Anyway, the 'fastest' scale that I know is Rodrigo Dos Preludios No.2, 76 notes scales, 4-notes a click at 198 BPM (as written) going on from lowest to highest register of frets. Asencio's La Joia also very fast if we want to follow composer's metronome marking but it's not as long as Rodrigo's preludio.
I think it's better to derive your technical needs based on what you're going to play rather than setting a 'standard' or alike, lot's of excellent music you could play without trying to play scales lighting fast Cheers. Salvador wrote:To be able to play fast like Paco, Kazuhito Yamashita, Ana Vidovic it takes time.
It's a lifetime. But we are not like them. They're masters so very important to take it slow but steady and don't be discouraged. I think they could already play fast at the age of 16.
I think if you have good orientation and enough time to practice, in around 10 years you can play fast from scratch, it is not a lifetime. Children normally learn faster and they also have a lot more spare time to practice. I think the later is the biggest problem to learn as an adult, we normally do not have enough free time to practice, we need to earn for a living. Even musicians, when later on, they need to start teaching, playing concerts etc., there is no time to forget everything and dedicate yourself to pure practice, to play only the right pieces for your level or evolution purposes and so on. I think that is one of the main reasons it is better to learn as a child and that it takes a lifetime otherwise. The other one is not getting a real good teacher or trying to learn alone.
There's enough technical work in a few of these etudes to help ones technique. Personally I only play 1, 2 and 7 regularly and there seems to be enough work in these to cater for my needs. There's a bit of a misnomer that playing and practising difficult pieces will improve technique. Technique starts at the begining if you are taught properly and slight the string well with minimal effort and economy of movement you have something to build upon. I believe you are born with or without natural facility or physiology that suits the guitar this being good nails, strong hand and wrists and a natural dexterity.
You also need to be able to process information quickly. Having said this we can all improve what we have to some extent but unfortunately there is a plateau and that perfect tremolo or rapid scale that we strive for May never happen no matter how many hours we put in!