Chords for Marco Tamayo New fingerings that changed the classical guitar approach

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_ _ _ _ _ _ So back to you now regarding a little bit more the left hand
What happened with the technique?
I really think that every piece is easy or all of them are easy.
I like to think about complicated pieces, but not about difficult, but don't forget
When the brain acknowledges that something is difficult
It's similar
psychologically seen as if our brain
Understand that a certain situation is dangerous
So when you think I'm gonna go out now to stage
On stage and perform a difficult piece you are reducing your potential _
so
What is our goal?
What is the goal really is to?
_ Simplify to finish with all difficulties.
So when I go out on stage, we have to believe that all works we are performing _
are
The [F] goals have been got and the piece belongs to me and it is easy _
From the technical point of view from the musical point of view as well
All rhetorical pictures every emotions have to be already under your skin in order to come out of the reflex
_ _ Difficulties are made by the human being the music doesn't understand any difficulty _ _
so
One of the
Passages that have brought into you know, the guitarist into a lot of trouble is the famous
[E] That _ [Am] _ _ _ [G] shifting here and also the right hand coming back to our basic _
hand producing sound I
[N] think as I said before that their pressure is the most used position in the performance and
The scales when we have two or more notes on one string in a boy and oh for example
Have to be very well achieved in order that when the moment comes we can do
_ but in this case we're talking about their pressure _ and
We know that if the fingers are together [C#] with the same tendons and the regularity is not really ensured
That's why the best would be to prepare as _ _ _ _ _ _ you can see so you have no [A#] worries
about searching the string and
_ [G#] Then on top of this plucking it regularly
So I'm talking
_ _ _ Together [F#] with a P.
That's one of [D] the rules one of the principles which are applicable for every guitarist as
We have been built
You know physiognomically talking in the same way
Everyone has a thumb on this side.
Everyone has a longer middle finger than all the others _ _ if you consider this
We need to have some rules that are applicable for everyone
There are particularities some people have smaller hand or more bright or longer or thinner or whatever
but something have to be general and
some of the general things is that this shift is noisy _ _ _
_ [E] _ _ _ _ _ [Am] Here _ _ [A] you are [G] you can do it and at any [E] speed so
[Am] And _ _ [G] this is so you don't have the noises you didn't hear that the bases were stopped
We have you know we have to use the resonance of the instruments and to use the illusory
Illusion of the legato that most of the time is what is really important so traditional fingerings following pattern _
That time is over so with the demanding of the market today.
It is impossible to keep on thinking that we have to
Repeat the same pattern here and never change it
one example of the
is the famous
_ _ _ This _ _
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[N] Obviously every time every bar is a different pattern here in the right hand, but our right hand should be as good as _ _ _
Being able to change every time our brain is able to learn it
So it's a challenge of the guitarist to develop the skills in order to have a fluent passage in this way
so
for the good of the music
We need to go deeper in the research of how
Really to improve our technique in order to support the musical ideas in the best way possible _ _ _ _ _ _ _
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