The Bible of Classical Guitar Technique
This is more than just a book about technique. Hubert Käppel, a worldwide-recognised and successful classical concert guitarist, is one of the most exceptional artists in his field. His reputation as an instrumentalist and a guitar teacher is not disputed. He was the only German among the award winners at the "Concorso Internazionale di Interpretazione" and since then has played on concert tours across the globe. He has been leading Europe's most successful guitar class at the Cologne University of Music for some time, started the "International Guitar Seminar Frechen/Colonge" and is a sought-after judge at international guitar competitions.
He left himself more than two decades to publish his "The Bible of Classical Guitar Technique", so that he could pour all of his teaching experience, which spans more than four decades, into his work. This is how a 246-page strong course book came into being, which will deliver material for guitarists for many years to come.
Of the book's three large sections, the second, practical part makes up the bulk, containing many technique exercises (arpeggios, scale exercises, hammer-ons and pull-offs with the left hand, tremolo, flamenco techniques, speed training, vibrato techniques and dynamic exercises). This technical part is framed by theoretical topics: in the "Prerequisites and Basics", Hubert Käppel gives detailed tips for effective and systematic practice and how to move when playing. In the third part, the 'important topics' of fingering techniques and memory training for playing by heart are tackled and comprehensive plans for daily practice cycles are presented. Through the meticulous system used when putting this book together, it has been possible to do without an index because of how detailed the contents page is.
Preface
Introductory Words by Aniello Desiderio
Suggestions for Using this Technique Handbook
Part One: Prerequisites and Basics
I. Short Introduction to Systematic Practicing
Prerequisites
Organizing Your Practicing
Practice Objectives
On Practicing Technique
On Sound, Rhythm and Tempo While Practicing
Motivation
Practicing with a Metronome
The Importance of Playing from Memory While Practicing
On the Frequent Repetition of Difficult Passages, Single Measures or Phrases
II. Holding the Instrument
The Four Points of Contact on the Body
The Correct Angle Towards the Body
Alternate Ways to Hold the Guitar
The Fusion of Body and Guitar into a Single Sound Source
III. Left Hand Posture (LH)
Four Universal Rules
The Principles of the Four Hand Shapes
Different Positions of the Left Arm-Hand-Finger System, Clarified by the Fourth Hand Shape
The Positioning of the Fingertips
IV. Short Outline of the Movements of the Left Hand (LH)
The Shoulder-Arm-Hand System
The Motion of the Arm
Basic Motions of the Fingers
Intonation and Finger Pressure
Left Hand Shift
Stretching and Contracting the Fingers
Ascending and Descending Slurs
Barre
Vibrato
V. Right Hand Posture (RH)
Posture
Base Finger Joint Position Relative to the Strings
VI. Tone Production and a Short Outline of the Movements of the Right Hand (RH)
Introduction
Nail Shape
Nail Length
Nail Shape of the Playing Finger
Polishing the Nails
Playing Angle of the RH
A System of Springs
Tirando: Sequence of Motions
Apoyando: Sequence of Motions
Sequence of Motions when Alternating Strokes (m-i and a-m-i)
Thumb Attack: Sequence of Motions
Tonal Colors and Point of Contact
Playing Chords (Several Notes Simultaneously): Sequence of Motions
Arpeggios: Sequence of Motions
Part Two: Technical Exercises
I. Arpeggios
The Practicing Units 48
Endurance, Evenness and Speed
Arpeggio Practicing Methods
1. Variable String Assignments of p-i-m-a
2. Impulse and Reflex Development
3. Practicing with Fixed Fingers (RH)
Chord Progressions and LH Patterns
Arpeggio Practicing Units
A1 The 6 Basic Arpeggios
A2 6 Basic Arpeggios Expanded to 24
A3 Arpeggios with p-m-i, p-m-a, p-i-a
A4 Alternating Various Arpeggio Patterns
A5 12 Basic Arpeggios with Simultaneous Thumb Attacks
A6 12 Basic Arpeggios with Polyrhythms
A7 Arpeggios with p-i, p-m and p-a
A8 Important Two-Part Arpeggios
A9 The 12 Basic Arpeggios on Three Strings
A10 36 Six Note Arpeggios
A11 24 Eight Note Arpeggios
A12 Variations of the 12 Basic Arpeggios on Three Strings
A13 Arpeggios with Thumb Accompaniment
A14 Various Arpeggio Patterns
A15 12 Basic Arpeggios as Quintuplets
A16 Arpeggios with Two to Eight Note Groupings
A17 112 Arpeggios on the 2nd and 3rd Treble Strings
A18 Basic Arpeggios with Difficult String Crossings
A19 Playing Chords with Arpeggios and Repeated Notes
A20 One Finger Arpeggios over Several Strings
A21 Arpeggios with Thumb Accompaniment to Strengthen Your Attack
Intensive Training of Important Arpeggios
A22 Intensive: The Classic Arpeggio Pattern p-i-m
A23 Intensive: The Classic Arpeggio Pattern p-i-m-a
II. Coordination of the Left and Right Hands
Speed and String Crossing Exercises in the Right Hand
Speed Exercises with Repeating Rhythms on a Single String
Speed Exercises
String Crossing Exercises
Synchronization of Your Left and Right Hands – Exercises Using 2 Fingers from Each
Chromatic Triplet Exercises over All Strings
Synchronization Exercises While Changing Strings
Synchronization of 3 Fingers of the LH / 2 and 3 Fingers of the RH
Synchronization of 4 Fingers of the LH / 2 and 3 Fingers of the RH (24 Permutations)
Synchronization of 4 Fingers of Both the Left and Right Hands (8 Note Permutation)
Intensive Training of the Chromatic Permutations 1 2 3 4 and 4 3 2 1
Various Coordination Exercises
III. Scales in All Keys
Preparatory Studies for Scales and Runs
Scales over Two and Three Octaves in the Circle of Fifths and Fourths
Five Short Exercises for Major and Minor Scales
Applied Practicing Methods for Scales
1. RH Patterns, 2. Repetitions, 3. Rhythms
4. Accents, 5. Articulation 6. Dynamics
Examples for Practicing Single Scales and Runs
Scales in Triplets
Scales in Triplets with Three Finger Alternating Patterns a-m-i and p-m-i
Scale Practicing Models in the Circle of Fifths
1. 24 Scales with Alternating Finger Patterns
2. 24 Scales with Repetitions
3. Using a-m-i and p-m-i in Four Note Groups
4. The Practicing Model of the 12 Basic Arpeggios (Excluding the Thumb)
Practicing an Original Run Chosen from the Repertoire
IV. Ascending and Descending Slurs in the Left Hand
Immediately Changing from the Treble to the Bass Strings
Slurs with Two Fingers
Ascending Two Note Slurs
Descending Two Note Slurs
Combining Ascending and Descending Slurs
Two Note Slurs as Triplets
Complex Two Note Slurs as Triplets
Ascending Two Note Slurs While Crossing Strings
Descending Two Note Slurs While Crossing Strings
Two Note Slurs as Triplets While Crossing Strings
Two Note Slur Combinations While Crossing Strings
Two Note Slur Combinations as Triplets While Changing Strings
Slurs with Three Fingers
Group 1 Diatonic – Triplet Slurs
Group 2 Diatonic – Triplet Slurs
Groups 3 and 4 Chromatic – Triplet Slurs
Slurs with Three Fingers Divided into Four Note Groups
Combining Two and Three Note Slur Combinations
Ascending Slurs with Three Fingers While Crossing Strings
Ascending and Descending Slurs with Open Strings
Slurs with Two Fingers and an Open String
Slurs with Three Fingers and an Open String
Ascending and Descending Slurs as an Embellishment
Short and Intensive Slur Exercises
Scales with Slurs
Chromatic Scales with Slurs
Slurs with Fixed Fingers
Slurs with Fixed Fingers / With and Without Open Strings
Two Note Slurs with Triplets and a Second Part
LH Trill Exercises and Embellishments
Slur Exercise Taken from the Guitar Repertoire Tarrega, Variations on Paganini’s “Carnival of Venice”
V. Tremolo
General Practicing Methods
Preparatory Exercises with a-m-i
Tremolo Exercises on One String
Tremolo Exercises Coordinated with LH Exercises
Tremolo Exercises on Various Strings
VI. Flamenco Techniques
Rasgueado Technique
Rasgueado with One, Three and Four Fingers
Rasgueado with Thumb and Fingers
Pulgar Technique – The Special Thumb Technique in Flamenco
VII. Supplementary Technical Exercises for the Left Hand
Shift Position Exercises
Preparatory Shift Exercises
Shifts Resulting from Finger Motion
Direct Shift Exercises
Indirect Shift Exercises
Chromatic Scale on a Single String
Left Hand Independence Exercises
Exercises for Leaving the Fingers on the Strings
12 Independence Exercises on Two Strings
Four Examples for Practicing
Independence Exercises for the Left Hand on Two Strings (Alternating Two Fingers)
Rhythmic Variations on Exercise 15 (“Two Against Three”)
Strength and Independence Exercises
Barre Exercises
Barre Exercises According to Llobet
Stretching Exercises for the LH 2Es Thirds, Sixths, Octaves and Compound Thirds
VIII. Additional Technical Exercises for the Right Hand
Tirando and Apoyando Exercises
Tirando Arpeggios Alternating with Apoyando on Two Strings
Tirando Arpeggios Alternating with Repeated Notes in Apoyando
Alternating Tirando and Apoyando
Thumb Exercises
Aguado Study
Simultaneous Attaking and Muting with the Thumb
Coste Study op. 38, No. 23
Exercises to Help Avoid Nail Noise
Pizzicato Exercises
Pizzicato Exercise with Thumb and Index Finger
Pizzicato Exercise with Thumb, Index and Middle Fingers (Three Part)
Harmonics Exercises
Natural Harmonics
Artificial Harmonics
Alternating Exercises with the Pinky and i-m-a
Alternating Exercises with Fixed RH Fingers
IX. Practicing Playing Fast
Speed and Relaxation
Practicing Playing Fast with the Right Hand
Pure Reflex Development with Double Dotted Rhythms
Achieving Speed by Playing with the Outside of the Nail
LH Fingers “Sloppily” Placed on Purpose (Without Pressure)
Taregga Exercise No. 7
X. Exercises for Perfecting Musical Expression
Vibrato Technique
Sequence of Motions for Vibrato in the Left Hand
Rhythmic Vibrato Exercises
Exercises for Developing the Flexibility of Hand and Fingers
Vibrato Exercises with Two or More Fingers
Vibrato Exercises with Barre
Exercises for Practicing Dynamics
Developing a Broader Dynamic Range
Exercises for Fine Tuning Dynamics
Carcassi Etude op. 60, No. 2 in A Minor
J.S. Bach: Four Part Chorale “Wer weiß, wie nahe mir mein Ende”
Anton Diabelli: Sonata in C Major, Andante sostenuto, 14 Bars
Exercises at Different Dynamic Levels in Two-Part Harmony
The Arpeggiated Chord (Rolled) in a Polyphonic Chord
The Elastic Wrist Attack in Dolce Cantabile Playing
Part Three: Important Topics
I. Fingering Technique
Fingering and Interpretation
Left Hand Fingerings
1. Tension and Release
2. Incorporating Harmonic Reasoning when Developing LH Fingerings
3. How to Use an Open String
4. The Open String in Scales
5. Analogous Fingerings
6. Jumping with One Finger
7. Special Issues with Fingerings Including Slurs
8. Shifting by Contracting 1 and 4
Right Hand Fingerings
1. Basic Fingering Rules for the Fingers of the Right Hand when Crossing Strings
2. Special Issues Regarding RH Fingerings on the Bass Strings
3. The Patterns p-m-i, a-m-i and p-a-m-i
4. Arpeggio Patterns Applied to Scales
5. Repeated Notes with a Single RH Finger
6. Combining Different RH Arpeggio Patterns
7. Using a-i on Neighboring Strings
8. Special Issues when Using RH Fingerings in a Musical Context
II. Tuning the Guitar
Simple Tuning by Comparing Neighboring Strings
Tuning Using Harmonics and Octaves as an Aid
III. Playing from Memory – Memory and Mental Training
Playing from Memory
Memory Training
Associating Different Areas of Memory
Different Memory Training Methods
Mental Training
IV. Stage Fright and Fear of Performing
V. Technical Practice Guides for Daily Practicing
Short Technical Practice Guide – about 45 Minutes
Compact Technical Practice Guide – about 90 Minutes
Intensive Technical Practice Guide – about 3 Hours
TIP Directory
Bibliography
Featured Product | No |
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Composer | KAPPEL, HUBERT |
Availability | Available |
TAB/Notation | Music Notation Only |
Description | This is more than just a book about technique. Hubert Käppel, a worldwide-recognised and successful classical concert guitarist, is one of the most exceptional artists in his field. His reputation as an instrumentalist and a guitar teacher is not disputed. He was the only German among the award winners at the "Concorso Internazionale di Interpretazione" and since then has played on concert tours across the globe. He has been leading Europe's most successful guitar class at the Cologne University of Music for some time, started the "International Guitar Seminar Frechen/Colonge" and is a sought-after judge at international guitar competitions. Preface Introductory Words by Aniello Desiderio Suggestions for Using this Technique Handbook Part One: Prerequisites and Basics I. Short Introduction to Systematic Practicing Prerequisites Organizing Your Practicing Practice Objectives On Practicing Technique On Sound, Rhythm and Tempo While Practicing Motivation Practicing with a Metronome The Importance of Playing from Memory While Practicing On the Frequent Repetition of Difficult Passages, Single Measures or Phrases II. Holding the Instrument The Four Points of Contact on the Body The Correct Angle Towards the Body Alternate Ways to Hold the Guitar The Fusion of Body and Guitar into a Single Sound Source III. Left Hand Posture (LH) Four Universal Rules The Principles of the Four Hand Shapes Different Positions of the Left Arm-Hand-Finger System, Clarified by the Fourth Hand Shape The Positioning of the Fingertips IV. Short Outline of the Movements of the Left Hand (LH) The Shoulder-Arm-Hand System The Motion of the Arm Basic Motions of the Fingers Intonation and Finger Pressure Left Hand Shift Stretching and Contracting the Fingers Ascending and Descending Slurs Barre Vibrato V. Right Hand Posture (RH) Posture Base Finger Joint Position Relative to the Strings VI. Tone Production and a Short Outline of the Movements of the Right Hand (RH) Introduction Nail Shape Nail Length Nail Shape of the Playing Finger Polishing the Nails Playing Angle of the RH A System of Springs Tirando: Sequence of Motions Apoyando: Sequence of Motions Sequence of Motions when Alternating Strokes (m-i and a-m-i) Thumb Attack: Sequence of Motions Tonal Colors and Point of Contact Playing Chords (Several Notes Simultaneously): Sequence of Motions Arpeggios: Sequence of Motions Part Two: Technical Exercises I. Arpeggios The Practicing Units 48 Endurance, Evenness and Speed Arpeggio Practicing Methods 1. Variable String Assignments of p-i-m-a 2. Impulse and Reflex Development 3. Practicing with Fixed Fingers (RH) Chord Progressions and LH Patterns Arpeggio Practicing Units A1 The 6 Basic Arpeggios A2 6 Basic Arpeggios Expanded to 24 A3 Arpeggios with p-m-i, p-m-a, p-i-a A4 Alternating Various Arpeggio Patterns A5 12 Basic Arpeggios with Simultaneous Thumb Attacks A6 12 Basic Arpeggios with Polyrhythms A7 Arpeggios with p-i, p-m and p-a A8 Important Two-Part Arpeggios A9 The 12 Basic Arpeggios on Three Strings A10 36 Six Note Arpeggios A11 24 Eight Note Arpeggios A12 Variations of the 12 Basic Arpeggios on Three Strings A13 Arpeggios with Thumb Accompaniment A14 Various Arpeggio Patterns A15 12 Basic Arpeggios as Quintuplets A16 Arpeggios with Two to Eight Note Groupings A17 112 Arpeggios on the 2nd and 3rd Treble Strings A18 Basic Arpeggios with Difficult String Crossings A19 Playing Chords with Arpeggios and Repeated Notes A20 One Finger Arpeggios over Several Strings A21 Arpeggios with Thumb Accompaniment to Strengthen Your Attack Intensive Training of Important Arpeggios A22 Intensive: The Classic Arpeggio Pattern p-i-m A23 Intensive: The Classic Arpeggio Pattern p-i-m-a II. Coordination of the Left and Right Hands Speed and String Crossing Exercises in the Right Hand Speed Exercises with Repeating Rhythms on a Single String Speed Exercises String Crossing Exercises Synchronization of Your Left and Right Hands – Exercises Using 2 Fingers from Each Chromatic Triplet Exercises over All Strings Synchronization Exercises While Changing Strings Synchronization of 3 Fingers of the LH / 2 and 3 Fingers of the RH Synchronization of 4 Fingers of the LH / 2 and 3 Fingers of the RH (24 Permutations) Synchronization of 4 Fingers of Both the Left and Right Hands (8 Note Permutation) Intensive Training of the Chromatic Permutations 1 2 3 4 and 4 3 2 1 Various Coordination Exercises III. Scales in All Keys Preparatory Studies for Scales and Runs Scales over Two and Three Octaves in the Circle of Fifths and Fourths Five Short Exercises for Major and Minor Scales Applied Practicing Methods for Scales 1. RH Patterns, 2. Repetitions, 3. Rhythms 4. Accents, 5. Articulation 6. Dynamics Examples for Practicing Single Scales and Runs Scales in Triplets Scales in Triplets with Three Finger Alternating Patterns a-m-i and p-m-i Scale Practicing Models in the Circle of Fifths 1. 24 Scales with Alternating Finger Patterns 2. 24 Scales with Repetitions 3. Using a-m-i and p-m-i in Four Note Groups 4. The Practicing Model of the 12 Basic Arpeggios (Excluding the Thumb) Practicing an Original Run Chosen from the Repertoire IV. Ascending and Descending Slurs in the Left Hand Immediately Changing from the Treble to the Bass Strings Slurs with Two Fingers Ascending Two Note Slurs Descending Two Note Slurs Combining Ascending and Descending Slurs Two Note Slurs as Triplets Complex Two Note Slurs as Triplets Ascending Two Note Slurs While Crossing Strings Descending Two Note Slurs While Crossing Strings Two Note Slurs as Triplets While Crossing Strings Two Note Slur Combinations While Crossing Strings Two Note Slur Combinations as Triplets While Changing Strings Slurs with Three Fingers Group 1 Diatonic – Triplet Slurs Group 2 Diatonic – Triplet Slurs Groups 3 and 4 Chromatic – Triplet Slurs Slurs with Three Fingers Divided into Four Note Groups Combining Two and Three Note Slur Combinations Ascending Slurs with Three Fingers While Crossing Strings Ascending and Descending Slurs with Open Strings Slurs with Two Fingers and an Open String Slurs with Three Fingers and an Open String Ascending and Descending Slurs as an Embellishment Short and Intensive Slur Exercises Scales with Slurs Chromatic Scales with Slurs Slurs with Fixed Fingers Slurs with Fixed Fingers / With and Without Open Strings Two Note Slurs with Triplets and a Second Part LH Trill Exercises and Embellishments Slur Exercise Taken from the Guitar Repertoire Tarrega, Variations on Paganini’s “Carnival of Venice” V. Tremolo General Practicing Methods Preparatory Exercises with a-m-i Tremolo Exercises on One String Tremolo Exercises Coordinated with LH Exercises Tremolo Exercises on Various Strings VI. Flamenco Techniques Rasgueado Technique Rasgueado with One, Three and Four Fingers Rasgueado with Thumb and Fingers Pulgar Technique – The Special Thumb Technique in Flamenco VII. Supplementary Technical Exercises for the Left Hand Shift Position Exercises Preparatory Shift Exercises Shifts Resulting from Finger Motion Direct Shift Exercises Indirect Shift Exercises Chromatic Scale on a Single String Left Hand Independence Exercises Exercises for Leaving the Fingers on the Strings 12 Independence Exercises on Two Strings Four Examples for Practicing Independence Exercises for the Left Hand on Two Strings (Alternating Two Fingers) Rhythmic Variations on Exercise 15 (“Two Against Three”) Strength and Independence Exercises Barre Exercises Barre Exercises According to Llobet Stretching Exercises for the LH 2Es Thirds, Sixths, Octaves and Compound Thirds VIII. Additional Technical Exercises for the Right Hand Tirando and Apoyando Exercises Tirando Arpeggios Alternating with Apoyando on Two Strings Tirando Arpeggios Alternating with Repeated Notes in Apoyando Alternating Tirando and Apoyando Thumb Exercises Aguado Study Simultaneous Attaking and Muting with the Thumb Coste Study op. 38, No. 23 Exercises to Help Avoid Nail Noise Pizzicato Exercises Pizzicato Exercise with Thumb and Index Finger Pizzicato Exercise with Thumb, Index and Middle Fingers (Three Part) Harmonics Exercises Natural Harmonics Artificial Harmonics Alternating Exercises with the Pinky and i-m-a Alternating Exercises with Fixed RH Fingers IX. Practicing Playing Fast Speed and Relaxation Practicing Playing Fast with the Right Hand Pure Reflex Development with Double Dotted Rhythms Achieving Speed by Playing with the Outside of the Nail LH Fingers “Sloppily” Placed on Purpose (Without Pressure) Taregga Exercise No. 7 X. Exercises for Perfecting Musical Expression Vibrato Technique Sequence of Motions for Vibrato in the Left Hand Rhythmic Vibrato Exercises Exercises for Developing the Flexibility of Hand and Fingers Vibrato Exercises with Two or More Fingers Vibrato Exercises with Barre Exercises for Practicing Dynamics Developing a Broader Dynamic Range Exercises for Fine Tuning Dynamics Carcassi Etude op. 60, No. 2 in A Minor J.S. Bach: Four Part Chorale “Wer weiß, wie nahe mir mein Ende” Anton Diabelli: Sonata in C Major, Andante sostenuto, 14 Bars Exercises at Different Dynamic Levels in Two-Part Harmony The Arpeggiated Chord (Rolled) in a Polyphonic Chord The Elastic Wrist Attack in Dolce Cantabile Playing Part Three: Important Topics I. Fingering Technique Fingering and Interpretation Left Hand Fingerings 1. Tension and Release 2. Incorporating Harmonic Reasoning when Developing LH Fingerings 3. How to Use an Open String 4. The Open String in Scales 5. Analogous Fingerings 6. Jumping with One Finger 7. Special Issues with Fingerings Including Slurs 8. Shifting by Contracting 1 and 4 Right Hand Fingerings 1. Basic Fingering Rules for the Fingers of the Right Hand when Crossing Strings 2. Special Issues Regarding RH Fingerings on the Bass Strings 3. The Patterns p-m-i, a-m-i and p-a-m-i 4. Arpeggio Patterns Applied to Scales 5. Repeated Notes with a Single RH Finger 6. Combining Different RH Arpeggio Patterns 7. Using a-i on Neighboring Strings 8. Special Issues when Using RH Fingerings in a Musical Context II. Tuning the Guitar Simple Tuning by Comparing Neighboring Strings Tuning Using Harmonics and Octaves as an Aid III. Playing from Memory – Memory and Mental Training Playing from Memory Memory Training Associating Different Areas of Memory Different Memory Training Methods Mental Training IV. Stage Fright and Fear of Performing V. Technical Practice Guides for Daily Practicing Short Technical Practice Guide – about 45 Minutes Compact Technical Practice Guide – about 90 Minutes Intensive Technical Practice Guide – about 3 Hours TIP Directory Bibliography |