Music of the Renaissance Arranged for the Guitar from lute by Konrad Ragossnig (arr.)
By Konrad Ragossnig (arr.)
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Additional info for Music of the Renaissance Arranged for the Guitar from lute tablatures
Sample text
Ernesto De Curtis Moderately slow = 88 5 4 5 1 3 1 3 4 3 2 T R A C K 3 5 3 3 1 5 4 2 5 3 3 3 2 4 2 2 3 1 4 2 4 4 1 2 1 3 2 1 1 5 2 1 1 2 1 3 3 3 1 2 2 1 1 1 1 2 3 5 3 2 1 1 4 2 4 3 3 2 rit. 1 2 3 4 1 2 1 2 2 3 1 3 4 4 3 3 4 2 33 34 Part I: Waking Up Your Fingers Chapter 3 Music for Five Fingers In This Chapter ▶ Developing stronger articulation skills ▶ Exercising with five-finger scales ▶ Exercising hands-together ▶ Playing your own Paganini variation I n this chapter you exercise all the fingers together on each hand, first separately and then together.
You can exaggerate this at first, so you can hear both notes sounding at the same time; then minimize the overlap to the point where you’re satisfied with a smooth legato transition from one note to the next. Listen to the overall phrase, and make slight changes in loudness within the phrase to give it a nice shape. Legato exercise for the right hand 5 T R A C K 4 5 4 1 3 5 2 3 1 1 2 4 4 2 3 3 1 3 2 3 1 6 4 1 3 5 5 4 1 3 5 4 3 1 4 2 3 5 1 3 2 3 5 4 1 2 5 3 1 1 5 2 2 4 5 4 3 Legato exercise for the left hand T R A C K 7 5 4 5 1 1 5 3 1 4 5 1 2 3 2 5 1 5 3 1 1 2 1 3 5 3 2 1 2 1 1 4 2 3 3 3 1 4 5 5 5 2 1 1 4 3 2 1 5 5 4 1 3 4 2 1 3 2 Chapter 3: Music for Five Fingers Short Articulation: Playing Staccato Your goal here is to make every staccato eighth note the same length, and that length should be short!
4. Repeat several times. Chapter 1: Getting Ready to Practice Figure 1-16: Raise your wrists with your fingertips on the fallboard. Hands on the fallboard: Rotation in and out, movement up and down the keyboard The next exercise gives you an example of how small forearm rotation should feel. You use this motion when playing broken-chord figures like the Alberti bass pattern in Chapter 11. To do a rotation exercise, follow these steps: 1. Start with your hands in playing position, fingertips on the wood, wrists fairly high (see Figure 1-17).