Chapter 20, Left Hand Dexterity
Chapter 20, Left Hand Dexterity
In addition to positioning and shifting we’ll now add dexterity work for the left hand fingers. As always, we’ll apply these concepts to  the technical exercises that you’re already practicing.
We’ll be working at ‘stretching’ the fingers horizontally in a new Compound Motion exercise called the Roshegar Reach and stretching them vertically with new Fixed Fingers Sympathetic Motion and Complex Alternation Stretch exercises.Â
The Sympathetic Motion Fixed Finger Exercise has two Levels; the first which establishes flexibility and the second that instills more dexterity.
Developing a strong technical foundation begins with positioning. In Part 1 you’ll be introduced to the Principles of Positioning through step by step instruction for finding your body’s optimal sitting, right and left hand positions. The application of these principles will result in a solid technique.
The entire classical guitarist’s repertoire can be broken down to a finite number of right hand movement forms.Â
With your positioning in place you will learn and begin the process of mastering these forms in your technical exercises, study pieces and eventually your repertoire. Â
Chapter 5 – Principles of Movement
Chapter 6 – The Free Stroke
Chapter 7 – Alternation
Chapter 8 – Sympathetic Motion
Chapter 9 – Tremolo
Chapter 10 – Compound Motion
Chapter 11 – Left Hand Patterns
While we allow your work in Part 2 to gestate we’ll take a slight detour to learn a few more exercises and techniques that will be integrated into your new Practice Plan.
Chapter 12 – String Crossing
Chapter 13 – Scale Bursts
Chapter 14 – Rest Stroke
Chapter 15 – Compound Motion Derivatives
Chapter 16 – Sym and Comp Motion with Active Bass
Chapter 17 – Primary Skills Exercises and Practice Plan
In Part 4 the positioning principles from Chapter 2 will be applied to the left hand. This will help to develop a well positioned and relaxed left hand to which we introduce scales, shifting and slurs.
Chapter 18 – Left Hand Positioning with Sympathetic Motion
Chapter 19- Left Hand Shifting (PROP)
Chapter 20 – Positioning with Scale Bursts
Chapter 21 -Positioning with Complex Alternation
Chapter 22 – Left Hand Chord PositioningÂ
Chapter 23 – Slurs
In Part 5 we begin the critical process of integrating – or mapping – all the right hand movement forms into repertoire, allowing your continued technical improvements to manifest themselves into your repertoire. Â
In addition to the Right Hand Mapping, you’ll be introduced to a set of right and left hand fingering guidelines that will better aid in recognizing and assigning the movement forms in repertoire.
Chapter 24 – Mapping Range of Motion and Alternation
Chapter 25 – Mapping Sympathetic Motion
Chapter 26 – Mapping Mixed Patterns
Chapter 27 – Mapping Popular Repertoire
Chapter 28 – Fingering Guidelines
Chapter 29 – Integrating Mapping into Repertoire
 In Part 6 we’ll further develop scale and arpeggios speed through exercises designed to encourage relaxation and accuracy. The result is more fluid, faster and accurate scales and arpeggios.Â
In addition, you’ll also be introduced to the final set of scales as well as a long term plan for learning and memorizing the Segovia Scales. And finally you’ll have a practice plan utilizing these scale forms with varied metronome tempos will allow you to increase your scale speed, with the shorter scale forms, without compromising accuracy.
Chapter 30 – Extended Scale Forms
Chapter 31 – Scale Speed Development
Chapter 32 – Arpeggio Speed and Development
Chapter 33 – Studies Supplement
Chapter 34 – Part 1
Chapter 35 – Weeks
Chapter 36 – Part 3
Chapter 37 – Part 4
Chapter 38 – Part 5
Chapter 39 – Part 6
The Roshegar Reach
One of my first teachers was Philip Roshegar. Philip was a phenomenal player with a fantastic left hand. I’ve integrated his ‘reach’ exercise into the Compound Motion Patterns.
You’ll play each Compound Motion Pattern (still observing the proper analysis) over a major seventh chord. Every two beats one finger will move a fret lower while the other fingers maintain contact.
Continue descending as far as you can. Over time you should be able to reach the III fret and perhaps lower. But, be patient.
Next apply the same technique to the AIM and AMIM Compound Motion Patterns.
Fixed Finger Sympathetic Motion
In this exercise you’ll hold down two fixed fingers while the other two fingers play the bass. In the PIM exercise you’ll isolate the adjacent fingers 1-2, 2-3 and 3-4. In the PMI exercise will isolate alternate fingers 1-3, 2-4, and 1-4.
These same combinations will be used with the PIMA and PAMI Sympathetic Motion patterns but instead of the fingers player on adjacent strings they are played on strings 1 and 3.
Â
Â
Dexterity and Sympathetic Motion
A more advanced exercise is available once you’re comfortable with the Fixed Finger Sym Motion Exercises. Dexterity and Sympathetic Motion using the same fingers but a more active format.