![]() But most players would alternate anyway in this kind of situation. Try playing it with all "m" and you will feel your hand tense and hear an ill-defined rhythmic figure in which the dotted eighth becomes too short and the sixteenth too long. Alternating "m" and "i" is the best way to ensure a crisp rhythm with little effort. In example #3 above, the dotted figure in measures one and five should be played very crisply, perhaps even double-dotted. Rhythmic clarity on dotted rhythms is also important. Unknowingly repeating fingers when playing fast or difficult scales can cause total confusion when one is under pressure in a public performance.Īs noted above, strict alternation of the fingers helps to ensure rhythmic evenness in fast scale passages. I have seen students unknowingly repeat fingers on a two-octave C major scale played at a moderately It is very easy to accidentally repeat fingers without realizing it. It is a good idea to have someone observe your right hand as you play fast scale passages to be certain you are alternating. Whichever pattern you use, it is clear that with a few possible exceptions as noted above, one must use strict alternation when playing rapid scale passages. He is maintained it produced a smoother scale with less inherent metrical accent than a two-finger scale. Narciso Yepes recommended using "ami" on many scales explaining that this pattern yields greater speed with less effort than a two-finger If there is a slur in a scale passage, unless the passage is very, very fast, usually a finger may be repeated from the slur to the next note without losing control or evenness (example #1):Īlthough I don't recommend it, some players (especially some flamenco players) like to repeat fingers at string changes on descending scales (example #2):Īs far as which fingers to use in playing fast scales, most players prefer "im." Some prefer "ia," reasoning that these two fingers are of more equal length than "i" and "m," giving a more even balance to the hand as one alternates. Imagine running as fast as you can and suddenly using one foot twice.īut there are exceptions to maintaining strict alternation. And if you play a fast scale passage and accidentally or intentionally use the same finger for two or more notes, chances are you will slow down slightly at that point resulting in a rhythmically uneven scale. It is very difficult to achieve anything resembling speed without alternating. It almost goes without saying that one must alternate the fingers when playing fast scales. ![]() Keeping the right hand relaxed results in increased accuracy, speed, and rhythmic clarity. Repeated use of one finger, especially at a fast tempo, tenses the finger and in turn, the entire hand. The main reason we alternate our fingers when playing is for relaxation. To alternate, or not to alternate, this is the question we will examine in this tech tip on right-hand fingering. However, as one plays more advanced repertoire, slavish adherence to the rule "always alternate the fingers" becomes a questionable practice in some passages. All beginning guitar methods emphasize the importance of alternating "im" or "ma" or "ia." Segovia advises us to practice his major and minor scale patterns with "im," "mi," "ma," "am," "ai," "ia," and "imam." Learning to alternate the fingers in different patterns is a very important part of good right-hand technique. We are taught from our very first guitar lessons to alternate our fingers. This article may be reprinted, but please be considerate and give credit to Douglas Niedt.
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