Chords for Marco Tamayo talks apoyando vs tirando in J. S. Bach
Tempo:
127.85 bpm
Chords used:
E
Em
F#
G
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em]
[E]
[A] So [N] I would like to talk a little bit, to make a kind of introduction to the fact
of the guitar technique, the modern guitar technique.
We have basically eight
basic movements.
We don't have more than that.
We do three basic movements here on
the right hand and five basic movements on the left.
All we do is apoyando, tirando
and rasgueo on the right.
And here we do barres, we do slurs, two kinds of
extensions and shifting.
The right hand most of the time works in an upressure
position.
For upressures we have principles.
We have 28 principles.
Those
that I have written in the book called essential principles for the performance
on the classical guitar.
As I said, most of the time the right hand stays in
the upressure position, which is one finger per string.
And [F#] the other
technique that we use is the apoyando, which is very important.
Apoyando is very balanced by itself.
So it's got to be combined according to the
musical passages we need to play at the moment.
So you see, apoyando could be
also a very soft thing, since the word apoyando means being resting somewhere
with the weight of your own body.
In this case my body is in this lean, you know,
it's apoyando, it's apoyado, like we would say in Spanish, on the guitar.
[B] The same
happens when I would play an apoyando with I finger or M finger or E finger.
So apoyando [F#] could be but soft.
[G]
[A]
[F] There's different things.
It doesn't mean that when we play apoyando, it [G] has to be
forced and accented.
So that was apoyando.
It's a [Em] matter of the speed the finger goes on the string and the counterpoint.
So playing fast, at [F#] fast tempo, doesn't mean that the movement on the string has
to be fast.
[F] And I have several examples to show you here [C#] where apoyando could be
used in a way to give more sound, because in that technical moment, in that passage,
we need [E] more balance.
The right hand.
[Em] [B]
[E] That's
Sky cannot have not to be
have not to be this way.
[G] It's not the case that we go to do
this kind of things.
We
[A] go
You [Em] see here, these two notes need [N] weight.
And those two notes are directed to the third one,
because they are upbeat.
To the third one is
We have two different
accentuation of this baroque motif, which is religious and rhetorical, including the theology.
[D] So we have
[E] [D] That was
[E] And then we have
[G#] [D] [E] So you see the Brandenburg [G] Concerto No.
3.
[D]
So
[A]
[F#] Two different kinds of possibilities.
Pa-pa-pan or pa-pa-pan.
[E] In this case, it goes here.
And that's what is important to enhance.
If I take my right hand down in order to [Em] play tirando, it goes down.
How can I stop the [E] beat?
So there are a lot of problems of misbalance in the right hand.
So
In this case, he's having a bow.
And it's a combination of apoyando and tirando,
because apoyando by itself is a movement that finds, as Newton said in the third law,
every force develop an opposite force.
Equal.
And you see apoyando by [Em] itself
It's resting the finger, [B] middle finger is resting on the third string.
The third string is offering
a force [B] opposite to it.
So the right hand is very balanced in this case.
Tirando by itself is not a balanced movement.
That's why it needs some support.
That's what many people do when they play [E] a tirando scale up or down.
You see the thumb
has to go next.
If the hand will be open, it's impossible to have a good sound.
[Em] [E]
[Em]
[E]
[G#] [Am]
[E]
[E] [G#m]
[F#] [D#m]
[E] [G#]
[G]
[E]
[A] So [N] I would like to talk a little bit, to make a kind of introduction to the fact
of the guitar technique, the modern guitar technique.
We have basically eight
basic movements.
We don't have more than that.
We do three basic movements here on
the right hand and five basic movements on the left.
All we do is apoyando, tirando
and rasgueo on the right.
And here we do barres, we do slurs, two kinds of
extensions and shifting.
The right hand most of the time works in an upressure
position.
For upressures we have principles.
We have 28 principles.
Those
that I have written in the book called essential principles for the performance
on the classical guitar.
As I said, most of the time the right hand stays in
the upressure position, which is one finger per string.
And [F#] the other
technique that we use is the apoyando, which is very important.
Apoyando is very balanced by itself.
So it's got to be combined according to the
musical passages we need to play at the moment.
So you see, apoyando could be
also a very soft thing, since the word apoyando means being resting somewhere
with the weight of your own body.
In this case my body is in this lean, you know,
it's apoyando, it's apoyado, like we would say in Spanish, on the guitar.
[B] The same
happens when I would play an apoyando with I finger or M finger or E finger.
So apoyando [F#] could be but soft.
[G]
[A]
[F] There's different things.
It doesn't mean that when we play apoyando, it [G] has to be
forced and accented.
So that was apoyando.
It's a [Em] matter of the speed the finger goes on the string and the counterpoint.
So playing fast, at [F#] fast tempo, doesn't mean that the movement on the string has
to be fast.
[F] And I have several examples to show you here [C#] where apoyando could be
used in a way to give more sound, because in that technical moment, in that passage,
we need [E] more balance.
The right hand.
[Em] [B]
[E] That's
Sky cannot have not to be
have not to be this way.
[G] It's not the case that we go to do
this kind of things.
We
[A] go
You [Em] see here, these two notes need [N] weight.
And those two notes are directed to the third one,
because they are upbeat.
To the third one is
We have two different
accentuation of this baroque motif, which is religious and rhetorical, including the theology.
[D] So we have
[E] [D] That was
[E] And then we have
[G#] [D] [E] So you see the Brandenburg [G] Concerto No.
3.
[D]
So
[A]
[F#] Two different kinds of possibilities.
Pa-pa-pan or pa-pa-pan.
[E] In this case, it goes here.
And that's what is important to enhance.
If I take my right hand down in order to [Em] play tirando, it goes down.
How can I stop the [E] beat?
So there are a lot of problems of misbalance in the right hand.
So
In this case, he's having a bow.
And it's a combination of apoyando and tirando,
because apoyando by itself is a movement that finds, as Newton said in the third law,
every force develop an opposite force.
Equal.
And you see apoyando by [Em] itself
It's resting the finger, [B] middle finger is resting on the third string.
The third string is offering
a force [B] opposite to it.
So the right hand is very balanced in this case.
Tirando by itself is not a balanced movement.
That's why it needs some support.
That's what many people do when they play [E] a tirando scale up or down.
You see the thumb
has to go next.
If the hand will be open, it's impossible to have a good sound.
[Em] [E]
[Em]
[E]
[G#] [Am]
[E]
[E] [G#m]
[F#] [D#m]
[E] [G#]
[G]
Key:
E
Em
F#
G
A
E
Em
F#
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Em] _ _
[E] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[A] _ _ So [N] I would like to talk a little bit, to make a kind of introduction to the fact
of the guitar technique, the modern guitar technique.
_ _ We have basically eight
basic movements.
We don't have more than that.
We do three basic movements here on
the right hand and five basic movements on the left.
_ All we do is apoyando, tirando _
and rasgueo on the right.
And here we do barres, _ we do slurs, two kinds of
extensions and shifting.
_ _ The right hand most of the time _ _ works in an upressure
position.
_ _ For upressures we have principles.
We have 28 principles.
Those
that I have written in the book _ called _ essential principles for the performance
on the classical guitar. _ _
_ _ As I said, most of the time the right hand stays in
the upressure position, which is one finger per string. _ _
And [F#] the other
technique that we use is the apoyando, which is very important.
Apoyando is very balanced by itself.
So _ it's got to be combined according to the
musical passages we need to play at the moment.
So you see, apoyando could be
also a very _ soft thing, since the word apoyando means being resting somewhere
with the weight of your own body.
In this case my body is in this lean, you know,
it's apoyando, it's apoyado, like we would say in Spanish, on the guitar.
[B] The same
happens when I would play an apoyando with I finger or M finger or E finger.
So apoyando [F#] could be but soft.
[G] _ _ _ _ _ _ _ _
[A] _ _ _ _ _ _ _ _
_ _ _ _ [F] There's different things.
It doesn't mean that when we play apoyando, it [G] has to be
forced and accented.
So that _ _ was apoyando. _ _ _
_ _ _ _ _ _ _ _
_ _ _ It's a _ _ [Em] matter _ _ of the speed the finger goes on the string _ and _ the counterpoint.
So playing fast, _ at [F#] fast tempo, doesn't mean that the movement on the string has
to be fast.
[F] And I have several examples to show you here [C#] where apoyando could be
used in a way to give more _ _ _ _ sound, because in that technical _ moment, in that passage,
we need [E] more balance.
_ _ The right hand. _ _ _
[Em] _ _ _ _ _ _ [B] _ _
[E] _ _ _ _ _ That's_
Sky cannot have not to be_
_ have not to be this way.
[G] It's not the case that we go to do
this kind of things.
We _
_ [A] _ _ _ _ _ go_
_ _ _ You [Em] see here, _ _ these two notes need [N] weight.
And those two notes are directed to the third one,
because they are upbeat.
To the third one is_ _
We have two different
_ _ accentuation of this baroque motif, which is religious and rhetorical, _ including the theology.
[D] So we _ have_ _ _ _ _
[E] _ [D] That _ _ was_
[E] And then we have_
[G#] _ _ _ [D] [E] So you see the Brandenburg [G] Concerto No.
3.
[D] _ _ _
So_
_ _ _ [A] _ _ _
[F#] _ _ Two different kinds of possibilities.
Pa-pa-pan or pa-pa-pan.
[E] In this case, _ it goes here.
And that's what is important to enhance.
_ If I take my right hand down in order to [Em] play tirando, _ it _ goes down.
How can I stop the [E] beat?
So there are a lot of problems of _ misbalance in the right hand.
_ _ _ _ _ _ _ _
_ So_
_ In this case, _ _ _ _ _ _ he's having a bow.
And it's a combination of apoyando and tirando,
because _ apoyando by itself is a movement that finds, as Newton said in the third law,
every force _ develop an opposite force.
_ Equal.
_ _ And you see apoyando by [Em] itself_ _ _ _ _ _
_ It's resting the finger, [B] middle finger is resting on the third string.
The third string is offering
a force [B] opposite to it.
So the right hand is very balanced _ in this case.
Tirando by itself is not a balanced movement.
That's why it needs some support.
That's what many people do when they play _ [E] a tirando scale up or down.
_ You see the thumb
has to go next.
If the hand will be open, it's impossible to have _ a good sound. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Em] _ _ [E] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Em] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ _ _ _
_ _ [G#] _ _ _ _ _ [Am] _
_ _ _ _ _ [E] _ _ _
[E] _ _ _ _ _ _ [G#m] _ _
_ _ _ _ [F#] _ _ [D#m] _ _
[E] _ _ _ _ _ _ [G#] _ _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Em] _ _
[E] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[A] _ _ So [N] I would like to talk a little bit, to make a kind of introduction to the fact
of the guitar technique, the modern guitar technique.
_ _ We have basically eight
basic movements.
We don't have more than that.
We do three basic movements here on
the right hand and five basic movements on the left.
_ All we do is apoyando, tirando _
and rasgueo on the right.
And here we do barres, _ we do slurs, two kinds of
extensions and shifting.
_ _ The right hand most of the time _ _ works in an upressure
position.
_ _ For upressures we have principles.
We have 28 principles.
Those
that I have written in the book _ called _ essential principles for the performance
on the classical guitar. _ _
_ _ As I said, most of the time the right hand stays in
the upressure position, which is one finger per string. _ _
And [F#] the other
technique that we use is the apoyando, which is very important.
Apoyando is very balanced by itself.
So _ it's got to be combined according to the
musical passages we need to play at the moment.
So you see, apoyando could be
also a very _ soft thing, since the word apoyando means being resting somewhere
with the weight of your own body.
In this case my body is in this lean, you know,
it's apoyando, it's apoyado, like we would say in Spanish, on the guitar.
[B] The same
happens when I would play an apoyando with I finger or M finger or E finger.
So apoyando [F#] could be but soft.
[G] _ _ _ _ _ _ _ _
[A] _ _ _ _ _ _ _ _
_ _ _ _ [F] There's different things.
It doesn't mean that when we play apoyando, it [G] has to be
forced and accented.
So that _ _ was apoyando. _ _ _
_ _ _ _ _ _ _ _
_ _ _ It's a _ _ [Em] matter _ _ of the speed the finger goes on the string _ and _ the counterpoint.
So playing fast, _ at [F#] fast tempo, doesn't mean that the movement on the string has
to be fast.
[F] And I have several examples to show you here [C#] where apoyando could be
used in a way to give more _ _ _ _ sound, because in that technical _ moment, in that passage,
we need [E] more balance.
_ _ The right hand. _ _ _
[Em] _ _ _ _ _ _ [B] _ _
[E] _ _ _ _ _ That's_
Sky cannot have not to be_
_ have not to be this way.
[G] It's not the case that we go to do
this kind of things.
We _
_ [A] _ _ _ _ _ go_
_ _ _ You [Em] see here, _ _ these two notes need [N] weight.
And those two notes are directed to the third one,
because they are upbeat.
To the third one is_ _
We have two different
_ _ accentuation of this baroque motif, which is religious and rhetorical, _ including the theology.
[D] So we _ have_ _ _ _ _
[E] _ [D] That _ _ was_
[E] And then we have_
[G#] _ _ _ [D] [E] So you see the Brandenburg [G] Concerto No.
3.
[D] _ _ _
So_
_ _ _ [A] _ _ _
[F#] _ _ Two different kinds of possibilities.
Pa-pa-pan or pa-pa-pan.
[E] In this case, _ it goes here.
And that's what is important to enhance.
_ If I take my right hand down in order to [Em] play tirando, _ it _ goes down.
How can I stop the [E] beat?
So there are a lot of problems of _ misbalance in the right hand.
_ _ _ _ _ _ _ _
_ So_
_ In this case, _ _ _ _ _ _ he's having a bow.
And it's a combination of apoyando and tirando,
because _ apoyando by itself is a movement that finds, as Newton said in the third law,
every force _ develop an opposite force.
_ Equal.
_ _ And you see apoyando by [Em] itself_ _ _ _ _ _
_ It's resting the finger, [B] middle finger is resting on the third string.
The third string is offering
a force [B] opposite to it.
So the right hand is very balanced _ in this case.
Tirando by itself is not a balanced movement.
That's why it needs some support.
That's what many people do when they play _ [E] a tirando scale up or down.
_ You see the thumb
has to go next.
If the hand will be open, it's impossible to have _ a good sound. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Em] _ _ [E] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Em] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ _ _ _
_ _ [G#] _ _ _ _ _ [Am] _
_ _ _ _ _ [E] _ _ _
[E] _ _ _ _ _ _ [G#m] _ _
_ _ _ _ [F#] _ _ [D#m] _ _
[E] _ _ _ _ _ _ [G#] _ _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ _ _