Posture, Instrument Placement and Breathing
Normal Posture and Mobility
Traditional Placement of the Guitar
Psychophysical Effects
Slanted Placement
Tilting of the Soundbox
Other Issues Related to Posture with the Instrument
Remodeling Instrument Placement
Breathing
Abdominal Breathing
Breathing Rhythm
Breathing versus Excitement
The Right Hand
The Postural Frame
Forearm Support Point
Hand-Forearm Placements
Aligned Placement
Intermediate Placement
Curved Placement
Alignment of the Fingers and Roundness of the Hand
Sensopostural Patterns
Physical-Acoustic Phenomena and Tone in Performance
Learning the Sound of the Instrument
The Plucking Mechanism
The Plucking Cycle
Contact with the Strins
Fingernail Attack
Fingertip/Nail Attack
Fingertip Attack (Thumb)
Planting: Coordination and Synchrony for a Balanced Mobility
Simultaneous Planting
Sequential Planting
Grip/Thrust
Free and Rest Strokes
Fixation (Muscular Integration in Plucking)
Exit and Relax
Physiological aspects that contribute to relaxation in both hands
Sensoperceptive Exercises for the Right Hand
Stimulating the Perception of Contact
Perception of Grip
“Silent Plucking” (Simultaneity with the Thumb)
Rapid Repositioning
“Tick Tock: (Fingernail Attack)
Release from the Bottom
Perception of Thrust (rest Stroke)
Exploring and Activating Relaxation
Tonicity Patterns (Flexibility of Muscle Tones)
Better Perception, Fewer Repetitions
Use of Voluntary Fixation in Plucking
Fixation with i-m-a
Fixation with the thumb
Applications
Fingering: Functional
Regularities and Options
Finger Crossing
The Little Finger
Applications
Artificial Harmonics
Five-Note Chords
Arpeggios
More About the Thumb
Timbre
Twin-stroke
Support-Planting
Displacements
Control of Resonance by Damping
Right-Hand Articulation Techniques
Legato and Staccato
Rest/Free Alternation
“Vertical Articulation”
Intervals
Arpeggiated Chords
Dynamic Enhancement (Highlighting Notes)
Strumming (Rasgueado)
Preparatory Exercises
Functional Relaxion in Strumming
The Left Hand
The Postural Frame
Hand Roundness
Hand-Forearm Alignment/Control of the Arm Angles
Hand Rotation/Control of Supination
Left-Hand Sensopostural Pattern
The Placement-Release Cycle
Contact with the Strings
Balance of Positioning
Thumb Placement
Palm View
Side View
Thumb Position Readjustments
Placement of Finger
Planting in Linear Passages
Finger Pressure (Pisado)
Weight and Flotation
Release (Relax) and Exit
Position Shifts
Types of Position Shifts
Movement Transmission in Longitudinal Shifts
Movement Transmission in Longitudinal Shifts
Hand Presentation on the Fretboard and Transverse Shifts
Perceptual Guidelines for Mobility in Shifting
Perception of Effort
Visual Orientation
Reference Points on the Fretboard
Visualization Strategies
Practice of Shifts by Leap
Reducing Noise in Shifting
Other Means for Precision and Economy of Effort in Shifting
Mechanics of Support Point
Pivot Finger
Avoiding Successive shifts in Opposite Directions
Using Less Supination in Linear Passages
Progressive Placement and Release of Chord Positions
Barre
Roundness of the Hand in Barre
Using Selective Pressure in Barre Chords
Reshaping the Barre
Increased Economy of Effort
Using the Weight of the Arm
Intermittent Release of Pressure
Selective Pressure in Linear Passages
Barre in Advance
Partial Barre
Hinge Barre
“Fourth-Finer Barre”
Extensions
Preparing Extensions
Alternatives
Left-Hand Articulation Techniques
Legato by Sustaining Resonance
Campanella
Direct use of Sympathetic Resonance
Slurs (Ligados)
Planting when Playing Slurs
Cross-String Slurs
Rotation of the Hand in Slurs
Staccato
Slur-Staccato
Glissando
Fast Glissandi : From a note without fixed duration to another note with Fixed duration --- Between two notes with fixed duration ---Portamento (Expressive Glissando)
Short Portamento
Practice of Short Portamento
Vibrato
Prolonging the Sound
Epilogue
Appendixes
A Brief Anatomical and Physiological Outline
Study of Symmetries of Body Posture Using Profilometry
Pre-Warmup Exercises