I have been practicing my slur (ligado) technique on classical guitar… using the Aaron Shearer book.
As I was doing exercises I thought, “some of these could make good sequences”. Then I started to try and apply them in a more jazz way. Not working so well.
I did a lot of problem solving and came up with some ideas. However I feel like the wisdom here far transcends my limited-ness.
The motivation for the book was to systematically address different slur fingering combinations. Each figure though is built with slurred notes within reach of each other. Pedal notes always add logic to a sequence. The bulk of these have a flow similar to enclosures. To me they make the most sense resolving to a chord indicated by an additional target note or notes. They also can form cool sequences by moving the patterns in various ascending or descending intervals. Harmonically speaking the starting and ending points define function. Now that you have assimilated these moves, not a bad thing to consider if they have any application outside of guitar gym class.
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The open string and 12th fret harmonic will always be in tune with each other. The 12th fret harmonic should also be in tune with the same string fretted at 12th fret. Is that the case?
RP,
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Grant Green, What is This Thing
Today, 01:59 PM in Ear Training, Transcribing & Reading