Thanks Merce. We enjoy the info and the wit you share. You work hard to make good, helpful videos, and have worked hard a lifetime to master music and guitar. Very impressive. We admire your success and effort. Well done. Your brains, your industry, your imagination, and your love show clearly. Thank you for giving.
Wow about the books. No wonder you are so smart. I am sure will read them when I finish the "Quantum physics" (it may take me 50 years to finish this one) . Thank you for your book list.
ditto durbin's note, esp wit! much appreciated. p.s. perhaps mention Petrucci's "Rock Discipline" (for the steel string player, tho exercises are good for anyone)
Just a 'thought' on the dots/marks on classical guitars: I believe the reason why they are on the 7th fret is mainly that this would form a 'perfect fifth' above the open string. From a harmonic/melodic perspective, this is (as I'm sure you know) really important. Especially so if you play in keys based on open strings. (cf. having a dot on the fifth fret would mean a 'perfect fourth' above the open string). Francisco Tarrega's (among many others of course) uses this 'trick' all the time in his compositions (and for good reason as it creates good overtones/resonances on our instrument). A FEW TIPS I LIKE TO TELL MY STUDENTS TO GET TO KNOW THE FRETBOARD (fairly quickly) WITH THAT IN MIND: 1) Knowing that each string (with the exception between strings 2 and 3, being a major 3rd) is a 'perfect fourth' apart from each other, it makes perfect sense that the 5th fret has the same pitch as the string underneath. 2) As a perfect fifth is the inversion of a perfect fourth, the seventh fret is the same letter (however, one octave higher) as the open string above it (one string lower). 3) I recommend to re-read 'beginner books' (one-line melodies) in both fifth and seventh positions to familiarize yourself with those positions. After that move on to the ninth position (major sixth) which is 'sort of' the middle between positions 7 (perfect fifth) and 12 (perfect octave). 4) knowing all the 'open string' pitches on each guitar (f.e. knowing all 'E'-notes on each string, know all 'B'-notes on all strings, etc...) is also a great way to understand possible 'opportunities' to switch positions (as they free up the left hand). At the same time they become 'reference notes' but also 'points of awareness' if you need to 'damp/mute' them to not create 'harmonies' from 'melodies'. I think from that perspective, we can learn a lot from jazz musicians who often learn the fretboard from a more interval/harmonic point of view and less from a 'note reading' point of view. I'm guilty of not doing enough of that as well, but doing some basic jazz theory on the guitar or even 'composition' exercises (maybe not necessarily to become a composer, but who knows?) is a big plus to fully understand what I call the 'guitarubik' ;-) Hope this makes sense (from a western music theory point of view at least). If not, let me know and I'll do my best to follow up ;-)
what 'trick" does Tárrega use? you say he uses this "trick" but you don't say what the trick is. Also i don't see why the perfect 5th being on the 7th fret is of particular importance. it's just a product of the way a guitar is tuned
I am going to research that Harmony book. I am a nerd when it comes to music theory books. You should publish your book. I have full confidence it will add value to our world.
I would say that the dots came about by not using a classical stance. As to where you don't look over the fretboard in other types of music however you may have to such a progressive Rock or people who can barely play 2 chords.. Haha.. I can laugh I was there once. Take care Merce, Lovely as always and keep showing them how its done. Ciao for now aweets.❤🤗
I use it all the time, every day. It depends on how well your back can handle the unstable position of the footrest. Some use supports to practice but in concert they prefer to have the normal foot rest as it gives a grip and hold of the instrument that is difficult to replicate with any other support. I personally can't stay more than 15min playing with it without my spine complaining about it... 😅
Thanks I love your playing and videos! I am trying to play classical music on electric guitar (no distortion lol)and using right hand classical position and I noticed that because electric is much thinner I have to compensate by raising my right hand even more, but then muting the strings becomes quite hard when raising the wrist. Any tips? Also when I do big arpeggios up and down 6 strings is it better to use pimamimamimp or just plain pimimimimip? I also like the advantage of having a whole extra octave for more tonal variation, I would love to hear your thoughts or see you play electric. Also please come to Mumbai, India if you can!
Hi!! I'd love to visit Mumbai someday!! 🙏🏻 As for the arpeggio, there are many many combinations. I would chose one depending on the left hand fingering. I understand the difficulty of the raised wrist when playing electric, I get the same when practicing sometimes with a frame silent guitar. Honestly I feel quite uncomfortable with that as I have really gotten used to having the thickness of the classical guitar inbetween. Maybe, to avoid raising your wrist, try to approach the strings with a flatter arm so that the distance from strings to wrist is lower than it would on the classical guitar. Given that the body is so thin that might be a good way to avoid tensing up too much. Hope that helps!
It's hard to tell as there are many other factors that can influence on the playability like width and thickness of the fretboard and string tension aside from personal preference.
Yes, i like your tutorial but i am still so difficult practising it , more than this i like you because of your beautifulness, how can i meet you...(ind)
Thanks Merce. We enjoy the info and the wit you share. You work hard to make good, helpful videos, and have worked hard a lifetime to master music and guitar. Very impressive. We admire your success and effort. Well done. Your brains, your industry, your imagination, and your love show clearly. Thank you for giving.
So nice of you! Thank you so much for the kind message Wilma! 🙏🏻
I am taking the book list to the library for review today.Thanks for cheering me onwords friend!
Have fun! Hope you find them!😊
Looking forward to a discussion on the Bach chaconne.
:)
Wow about the books. No wonder you are so smart. I am sure will read them when I finish the "Quantum physics" (it may take me 50 years to finish this one) . Thank you for your book list.
😂😂😂😂
ditto durbin's note, esp wit! much appreciated. p.s. perhaps mention Petrucci's "Rock Discipline" (for the steel string player, tho exercises are good for anyone)
Just a 'thought' on the dots/marks on classical guitars:
I believe the reason why they are on the 7th fret is mainly that this would form a 'perfect fifth' above the open string. From a harmonic/melodic perspective, this is (as I'm sure you know) really important. Especially so if you play in keys based on open strings. (cf. having a dot on the fifth fret would mean a 'perfect fourth' above the open string). Francisco Tarrega's (among many others of course) uses this 'trick' all the time in his compositions (and for good reason as it creates good overtones/resonances on our instrument).
A FEW TIPS I LIKE TO TELL MY STUDENTS TO GET TO KNOW THE FRETBOARD (fairly quickly) WITH THAT IN MIND:
1) Knowing that each string (with the exception between strings 2 and 3, being a major 3rd) is a 'perfect fourth' apart from each other, it makes perfect sense that the 5th fret has the same pitch as the string underneath.
2) As a perfect fifth is the inversion of a perfect fourth, the seventh fret is the same letter (however, one octave higher) as the open string above it (one string lower).
3) I recommend to re-read 'beginner books' (one-line melodies) in both fifth and seventh positions to familiarize yourself with those positions. After that move on to the ninth position (major sixth) which is 'sort of' the middle between positions 7 (perfect fifth) and 12 (perfect octave).
4) knowing all the 'open string' pitches on each guitar (f.e. knowing all 'E'-notes on each string, know all 'B'-notes on all strings, etc...) is also a great way to understand possible 'opportunities' to switch positions (as they free up the left hand). At the same time they become 'reference notes' but also 'points of awareness' if you need to 'damp/mute' them to not create 'harmonies' from 'melodies'.
I think from that perspective, we can learn a lot from jazz musicians who often learn the fretboard from a more interval/harmonic point of view and less from a 'note reading' point of view. I'm guilty of not doing enough of that as well, but doing some basic jazz theory on the guitar or even 'composition' exercises (maybe not necessarily to become a composer, but who knows?) is a big plus to fully understand what I call the 'guitarubik' ;-)
Hope this makes sense (from a western music theory point of view at least).
If not, let me know and I'll do my best to follow up ;-)
what 'trick" does Tárrega use? you say he uses this "trick" but you don't say what the trick is. Also i don't see why the perfect 5th being on the 7th fret is of particular importance. it's just a product of the way a guitar is tuned
Hola, Merce!! muy interesante que compartas libros. El de John Elliot Gardiner se ve genial, hay que echarle un vistazo!!
😊
I am going to research that Harmony book. I am a nerd when it comes to music theory books.
You should publish your book. I have full confidence it will add value to our world.
🙏🏻 maybe someday! 😊
I would say that the dots came about by not using a classical stance. As to where you don't look over the fretboard in other types of music however you may have to such a progressive Rock or people who can barely play 2 chords.. Haha.. I can laugh I was there once. Take care Merce, Lovely as always and keep showing them how its done. Ciao for now aweets.❤🤗
Can you recommend more books? I have purchased and studied the books you mentioned.
The world dosent deserve you. You are numero uno you are a princess. 👸 And no less. Love you Merce. Love Always 🤗❤💋
What would you recommend as the best book for beginners to start reading notes for guitar and for sight reading.
I was taught that the lack of dots comes from the Flamenco tradition where capos are used more heavily to accommodate a singer.
Interesting! That could possibly be an option indeed :)
How often do you really use a guitar support? Because I rarely see any classical guitarist using one on youtube.
I use it all the time, every day. It depends on how well your back can handle the unstable position of the footrest. Some use supports to practice but in concert they prefer to have the normal foot rest as it gives a grip and hold of the instrument that is difficult to replicate with any other support. I personally can't stay more than 15min playing with it without my spine complaining about it... 😅
When it comes to nails and acoustic steelstrings.
The answer is ping-pong balls baby.
Been using them for years, and it works great :D
Give it a try!
Thanks I love your playing and videos!
I am trying to play classical music on electric guitar (no distortion lol)and using right hand classical position and I noticed that because electric is much thinner I have to compensate by raising my right hand even more, but then muting the strings becomes quite hard when raising the wrist. Any tips? Also when I do big arpeggios up and down 6 strings is it better to use pimamimamimp or just plain pimimimimip? I also like the advantage of having a whole extra octave for more tonal variation, I would love to hear your thoughts or see you play electric. Also please come to Mumbai, India if you can!
Hi!! I'd love to visit Mumbai someday!! 🙏🏻 As for the arpeggio, there are many many combinations. I would chose one depending on the left hand fingering.
I understand the difficulty of the raised wrist when playing electric, I get the same when practicing sometimes with a frame silent guitar. Honestly I feel quite uncomfortable with that as I have really gotten used to having the thickness of the classical guitar inbetween. Maybe, to avoid raising your wrist, try to approach the strings with a flatter arm so that the distance from strings to wrist is lower than it would on the classical guitar. Given that the body is so thin that might be a good way to avoid tensing up too much.
Hope that helps!
Your accent feels super musical!
hahaha thanks! :)
I need deeply the tremolo guitars learning
Will make some tremolo tutorials in the near future for sure! 👍🏻
Could you please recommend some books for practicing and learning classical guitar..like method books
Thanks cheers😊
Great suggestion! I already had in mind to bring a video on that direction :)
My gitar , 5 mm of the distance between surface of the necgk and string, does it suitable, for your opinion..
It's hard to tell as there are many other factors that can influence on the playability like width and thickness of the fretboard and string tension aside from personal preference.
Thanks , and i will try to repair my guitar/modify by asking to help to reparator at my city(Malang) east of Java (one of Propince) in Indonesia
Any advice for trills on the first fret? E.g. b-c-b on the second string.
will bring a tutorial on that, I think it will help a lot more than a written answer :) stay tuned! 🙌🏻
@@MerceFont You're the best! Looking forward to it :)
Summary for these books
Exc. idea, Jack
Looking Beautiful Ma'm
Yes, i like your tutorial but i am still so difficult practising it , more than this i like you because of your beautifulness, how can i meet you...(ind)
Slowly please...
If it's too fast to understand, try slowing down the video in the options icon, that might help :)