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Pasquale’s Carulli Practice – Metronomic Interlude

I’ll explain why we’ll be taking a short pause in the Vlog lessons we’ve started in a moment.  But first, check out the lovely new metronome I just ordered!

metronome

In case you want one too, here’s its link at Amazon.com:  http://www.amazon.com/dp/B015ULU8HI?psc=1

I’ve only been working intensely with a metronome for a few years now, having detested them in my youth more than I can express in polite company or public discourse.  I really, really hated metronomes, though, I’m telling you.

Now I love them, and I couldn’t be more excited to get my new one soon as it arrives.  It should be here in a few days.

The reason I’m buying it is that I realized two things.  One, I have to show you how to use one for our very next lesson.  Two, the digital metronome I’ve been working with these years is not video-genic.  As it has no pendulum arm, you can only hear but not see the beat.  For our video lessons, you’ll really need to do both, hear and see.  It’ll be great!

There’s another reason for our short pause though.  To understand, I have to share a bit of context.  The initial idea for this series of Vlogs was completely different than how they burst into being the way they are all on their own.  I was working on my coming 4th performance video and I felt I needed something additional to help climb up to the next level.  My idea was simply to share two of Carulli’s lesson structures, the two I use to warm up with before I practice my performance piece every day as I roll forward in preparation for shooting the video.

Also, while I’ve performed three pieces by Bach so far, and my 4th performance video will also be another beautiful piece by Bach, I had never recorded any of the instructional work from Carulli’s manual.  So, it felt like it was time to share just a bit of his guidance.  But, the real idea was simply to show how I practice in preparation.  I actually pictured just six videos, since Carulli’s lesson structure breaks down into three simple steps each.

Ah, but then the moment I started sharing, boom, I started teaching.  It just came out that way.  As you can tell, I love to teach.  I mean, I really, really love to teach.  Besides that, I found there was a deep need still lingering in my soul.  My classical guitar dream, having commenced when I was 13 years old, was already broken to smithereens by the time I was 17.  What happened when I started shooting these little Vlog postings, was that the still-broken-hearted and not-yet-fully-healed 17 year old player in my soul basically cried out, shouting, “THESE ARE EXACTLY THE LESSONS I NEED TO FULFILL MY CLASSICAL GUITAR DREAM!!!!”

When I shout, I’m really loud.

So…having gotten as much done as we have, I’m redrawing my plans for the coming Vlog postings right now.  We’ll do an even better job of going back to the very beginning.  In fact, I’ll close out today with this little list and a final thought below…

– Basics and Building Blocks
– Scales
– Chords
– Exercises
– Progressive Performance Pieces

These are the five elements of Carulli’s Method.  In our coming Vlog postings, we’ll follow his method both to the letter (the note?), and we’ll do our absolute best to elucidate the true spirit of his guidance.  And while we’re at it, we’re going to completely, as in 100%, crack the code of Classical Music for the guitar.  You’ll see; I promise!

2 Comments

  1. Mike wrote:

    How about this for a metronomic interlude:
    https://en.wikiquote.org/wiki/Metronome

    https://en.wikipedia.org/wiki/Metronome#Views_on_the_metronome (be sure to browse to the criticism section).

    I reject the metronome and metronomic performances, and so should you.

    Friday, December 25, 2015 at 4:32 am | Permalink
  2. The Consigliori wrote:

    Hi Mike, thank you so much for your intelligent counter-case. I will read the criticism section and get back to you on it, and I promise to seriously consider the case against.

    Allow me to state though, that for my own personal practice, I start out at the slowest possible setting, and raise by degrees, step by step, perfecting my skill at each new pace. Then, once I’ve become sufficiently comfortable at a pace faster than I intend to play the piece, I put the metronome away and work on feeling, rubato, dynamics and expression. For me, the metronome is my teacher and helper far more than my master. But, during metronome work I happily accept its temporary mastery over me. Still, you case must be considered and I promise I will. Thanks again!

    Friday, December 25, 2015 at 1:23 pm | Permalink

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