Ten taboos for learning guitar

Ten taboos for learning guitar

Step 1:

If the rhythm and basic movement are wrong, the rest will not be as good.

 

Step 2:

Any poor practice of basic movements will lead to a series of problems in the future. If the fingers are not in place, and the strings are not upright enough to press the strings, in addition to affecting the performance, the quality of the smooth sound will not be guaranteed. Then all the grace notes related to slurs are also problematic. Left-handed solos will also become extremely difficult to play.

Step 3:

Be very careful before establishing fingering for a piece of music. Fingering has a much more important influence on playing than most piano players think. But once the fingering is determined, it must be strictly followed in future exercises. Develop the habit of playing as soon as possible.

 

Step 4:

4. Do not negate or accept the fingering marks of other players in the book casually. Be sure to understand the meaning of a fingering before accepting or denying it. For example, there is no meaning of voice connection, musical color, convenient performance, etc.

Step 5：

A bad fingering often involves multiple fingerings. So pay special attention when you arrange fingering. The so-called continuous use of fingering refers to the continuous use of the same finger of the right hand (except the p finger). So you have to use alternately. The left hand also has this problem. The same finger on the same string can be used together, but between different strings must be avoided as much as possible.

 

Step 6：

Every stage and every practice should have a clear purpose. If you are practicing scales, you can consider whether the purpose of the practice is the ups and downs of the scale or the speed or other purposes. Then think about how to practice to achieve this goal. This kind of practice can be regarded as efficient practice.

 

Step 7：

If you don’t have a lot of practice time, but you have several types of exercises to practice, you should concentrate on one type at a time, and focus on another type next time. This works better than doing several different types of exercises at once. The same principle also applies to the practice of music.

 

Step 8：

Slow practice is very important for practice. But it should be noted that in the slow practice, the breathing and ups and downs of the music phrases should also be done. Otherwise, when the music is at a normal speed, these will not be able to be done because of the habit. And because slow practice takes a large part in the practice, if you don’t pay attention to the music expression, you will develop very bad habits. Slowly the music loses its vitality.

 

Step 9：

If you can’t accurately complete the rhythm of each phrase of the music, don’t do some freestyle processing. When any performer handles a certain part freely, he can also play the exact rhythm of that part. Free processing on the basis of understanding the exact rhythm is the source of water.

Step 10：

You can often see many piano friends asking how to choose etudes or pieces of music. Yes, “what to choose” is an important question. But more important is “how to play”. That is to say what kind of method to practice or play. And the most important thing is “what to express”. Even if you have a good composition and a good technique to manipulate it, if you forget what you want to “express”, such music is meaningless. In fact, this situation is quite common in instrumental music. Due to the difficulty of playing instrumental music, in order to complete a good piece of music, we will spend a lot of energy and attention on many technical or processing details. In sculpting the details, we forget why we’re playing music. In sculpting the details, we forget why we’re playing music. So, any time we don’t forget what the music we play is meant to express. If you really have nothing to say, you might as well keep silent.

 

This is the end of this COVENANT guitar class, see you next time！