Guitar Techniques - - PLAY: CLASSICAL -

[Gen­eral] This fan­tas­tic pre­lude is tech­ni­cally not too dif­fi­cult to play so long as you work on it with in­tel­li­gent fin­ger­ing. As you can see the mo­tif or pat­tern is the same for ev­ery bar; the first two beats have a held chord played in an ar­peg­gio pat­tern and the third beat has two de­scend­ing qua­ver bass notes with a re­peated up­per note fol­low­ing each one. There are some tech­ni­cal dif­fi­cul­ties oc­cur­ring on this third beat so we will look at how to get around some tricky mo­ments. [Bar 1] In bar 1 fol­low the pick­ing hand fin­ger­ing ex­actly. This fin­ger­ing re­mains the same through­out, even when the bass notes oc­cur on the third stringG, InMtAhGeA­fiZrsINt b4a8rs I like to let go of the first fin­ger (fret­ting hand) half way through the sec­ond beBatAaCsiHtgi-vePs ‘space’ for the hand to nicely reach the bass notes. [Bar 3] Keep the sec­ond and fourth fin­gers in place through­out bars 3 and 4. [Bar 5] Bars 5 and 6 re­quire a lit­tle fret­ting hand hop from 4th to 3rd po­si­tion on the last beat so make sure your sec­ond fin­ger is hov­er­ing dur­ing the first two beats ready to catch the Bb on the shift. [Bar 7] We reach the Dm chord and the fret­ting hand’s sec­ond and fourth fin­gers can stay in place for four bars with the first and third fin­gers work­ing around them. A first fret barre will be needed for the first two beats of bar 9. [Bar 10] The G#dim7 chord at bar 10 is a bit stretchy and at bar 11 I let go of the first fin­ger half way through the sec­ond beat to get it ready for the G# on


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