Verfügbarkeit: Ergonomic guitar technique

Ergonomic guitar technique: psychology, ergonomics & technique ; [revised and with added sheets music: Capricci Dinamarca, op. 7]

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Bibliographische Detailangaben
1. Verfasser:	Zelmerlööw, Joakim 1974- (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	[Solna] Joakim Zelmerlööw 2009
Ausgabe:	2. ed.
Schlagworte:	Ergonomie Haltung Psychologie Gitarrenspiel Einführung
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	215 S. Ill., Notenbeisp.
ISBN:	9789163307096

Internformat

MARC


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Datensatz im Suchindex

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adam_text	Contents Introduction ...........................................................................................................7 Why ergonomie guitar technique? .........................................................................5 PSYCHOLOGY ...........................................................................................................9 Chapter 1 : Learning .............................................................................................10 Knowledge and dexterity -what is the difference? .............................................10 Objective and subjective studying ........................................................................10 Horizontal and vertical development ...................................................................11 Motivation, concentration, association andmemory ...........................................12 Good and bad habits ............................................................................................13 Musical notation ..................................................................................................14 Triggered music reading ......................................................................................15 Deliberate and automated movements .................................................................75 Methodical practicing ..........................................................................................16 How many hours per day? ...................................................................................17 Dynamic self-criticism .........................................................................................20 The education climate ..........................................................................................22 Fear of learning — do not correct me if lam wrong ............................................23 Chapter 2: nervousness & performance ...........................................................25 Nervousness - a fight for life ...............................................................................25 Terror — a shortcut in the brain ...........................................................................26 Negative nervousness — a vicious circle ..............................................................26 Valuable and valueless ........................................................................................27 The peril of music .................................................................................................28 Positive nervousness — a question of autosuggestion ..........................................30 The presentation ...................................................................................................31 During the concert-the internal reasoning. .......................................................31 Poker face - an ace up the sleeve ........................................................................33 Body movements during performance .................................................................34 Criticism - to face the music ................................................................................37 ERGONOMICS .........................................................................................................39 Chapters: About the backbone .........................................................................40 Chapter 4: about the neck ...................................................................................43 Chapter 5: Playing position ................................................................................45 Origins of bad ergonomics among musicians ......................................................45 Stress and tensions ...............................................................................................46 The back ...............................................................................................................46 The chair ..............................................................................................................47 The footstool or the leg support ...........................................................................47 The neck and shoulders ........................................................................................50 Upper arm and forearm .......................................................................................50 Guitar placement and instrument contact. ...........................................................57 Relaxation during study .......................................................................................57 Simulation - motor learning ................................................................................52 Chapter 6: Taking care of our muscles ............................................................54 Stretching exercises for the back/thighs ..............................................................54 Stretching exercise for the shoulders ...................................................................55 Stretching exercise for the neck ...........................................................................55 Stretching exercises for the forearm ....................................................................55 Stretching exercise for the chest muscles .............................................................56 Strength exercise for hands and forearms ...........................................................57 Grip exercise for the hand ...................................................................................57 Grip exercise for the fingers ................................................................................57 Barré exercise ......................................................................................................55 TECHNIQUE .............................................................................................................59 Chapter 7: Introduction то technique ..............................................................60 Technical behaviour and technical awareness ....................................................61 Technical contamination ......................................................................................63 The technical cycle ...............................................................................................63 Chapter 8: The right hand ...................................................................................65 The right hand - a means of expression ..............................................................65 The position of the right hand ..............................................................................65 The plucking techniques .......................................................................................66 Tone production ...................................................................................................67 String tension .......................................................................................................68 Preparation ..........................................................................................................69 Coordination ........................................................................................................70 The nails ...............................................................................................................72 Point of contact and timbre ..................................................................................74 Freqventato - a dynamic centre ..........................................................................75 The acoustics and the audience ...........................................................................77 How does your guitar sound? ..............................................................................78 Right hand arpeggio ............................................................................................78 Introduction to Giuliani s 120 right hand exercises ............................................79 The 120 right-hand exercises by Giuliani ............................................................82 Arpeggios with accents ........................................................................................94 Three-finger technique .........................................................................................95 Three-finger technique and speed. .......................................................................96 Three-finger technique -practical exercises .......................................................96 Tremolo ..............................................................................................................100 Chords ....................................................... ZZZZZZZZZZZZZ. ...................... I01 Chapter 9: The left hand ...................................................................................103 The left hand - a question of articulation .......................................................... ЮЗ Placement ...........................................................................................................103 A rule of thumb ...................................................................................................105 Precision ............................................................................................................105 Preparation ........................................................................................................107 Introduction to Giuliani s 16 left hand exercises .............................................. Ю7 The 16 left-hand exercises by Giuliani ..............................................................109 Coordination ......................................................................................................125 Legato ..........................................................................................................131 Barré ...................................................... .............................. ...............134 Chords andposition shifts .................................................................................135 Chapter 10: Synchronization .................. ZZZZZZZZZZZZZZZZZZZZZZZZ.. ....................... 137 Synchronization exercises ............... ............138 Scales .................................................................................................................143 Introduction to modal scales ..............................................................................143 Playing scales in sequences ...............................................................................146 Speed ..................................................................................................................148 Left hand arpeggio .............................................................................................149 Chapter 11 : Warm-up exercises ........................................................................151 Chapter 12: Instructive lessons by F. Horetzky ...........................................157 A word from Horetzky himself ...........................................................................157 Instructive lessons for the Spanish guitar F. Horetzky op 33............................159 Chapter 13: Atonal technique .........................................................................170 Combination matrices ........................................................................................170 Left hand matrices using arpeggio ....................................................................171 Right hand matrices using arpeggio ..................................................................174 Left hand matrices along the strings ..................................................................176 Chapter 14: Interpretation & guitar technique ...........................................179 Tempo rubato andagogic alterations ................................................................179 Ornamentation ...................................................................................................180 Table of ornaments ............................................................................................182 Vibrato ...............................................................................................................183 Over-legato ........................................................................................................184 The tone length during the baroque era ............................................................185 Muting technique ...............................................................................................186 Exercises for muting technique ..........................................................................757 Improvisation .....................................................................................................190 A practical example of improvisational supplements ........................................191 Chapter 15: Capriccios by the author .............................................................194 The Capriccios in technical detail ......................................................................194 Capricci Dinamarca, op. 7 by Joakim Zelmerlööw........................................... 797 List of references ...............................................................................................215
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author	Zelmerlööw, Joakim 1974-
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author_facet	Zelmerlööw, Joakim 1974-
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building	Verbundindex
bvnumber	BV035692035
ctrlnum	(OCoLC)643074984 (DE-599)BVBBV035692035
edition	2. ed.
format	Book
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isbn	9789163307096
language	English
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spelling	Zelmerlööw, Joakim 1974- Verfasser (DE-588)139025456 aut Ergonomisk gitarrteknik Ergonomic guitar technique psychology, ergonomics & technique ; [revised and with added sheets music: Capricci Dinamarca, op. 7] Joakim Zelmerlööw ; [illustrations and photography: Katarina Boye] 2. ed. [Solna] Joakim Zelmerlööw 2009 215 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Ergonomie (DE-588)4015249-2 gnd rswk-swf Haltung (DE-588)4133195-3 gnd rswk-swf Psychologie (DE-588)4047704-6 gnd rswk-swf Gitarrenspiel (DE-588)4021101-0 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Gitarrenspiel (DE-588)4021101-0 s Haltung (DE-588)4133195-3 s Ergonomie (DE-588)4015249-2 s DE-604 Psychologie (DE-588)4047704-6 s Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017746102&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Zelmerlööw, Joakim 1974- Ergonomic guitar technique psychology, ergonomics & technique ; [revised and with added sheets music: Capricci Dinamarca, op. 7] Ergonomie (DE-588)4015249-2 gnd Haltung (DE-588)4133195-3 gnd Psychologie (DE-588)4047704-6 gnd Gitarrenspiel (DE-588)4021101-0 gnd
subject_GND	(DE-588)4015249-2 (DE-588)4133195-3 (DE-588)4047704-6 (DE-588)4021101-0 (DE-588)4151278-9
title	Ergonomic guitar technique psychology, ergonomics & technique ; [revised and with added sheets music: Capricci Dinamarca, op. 7]
title_alt	Ergonomisk gitarrteknik
title_auth	Ergonomic guitar technique psychology, ergonomics & technique ; [revised and with added sheets music: Capricci Dinamarca, op. 7]
title_exact_search	Ergonomic guitar technique psychology, ergonomics & technique ; [revised and with added sheets music: Capricci Dinamarca, op. 7]
title_full	Ergonomic guitar technique psychology, ergonomics & technique ; [revised and with added sheets music: Capricci Dinamarca, op. 7] Joakim Zelmerlööw ; [illustrations and photography: Katarina Boye]
title_fullStr	Ergonomic guitar technique psychology, ergonomics & technique ; [revised and with added sheets music: Capricci Dinamarca, op. 7] Joakim Zelmerlööw ; [illustrations and photography: Katarina Boye]
title_full_unstemmed	Ergonomic guitar technique psychology, ergonomics & technique ; [revised and with added sheets music: Capricci Dinamarca, op. 7] Joakim Zelmerlööw ; [illustrations and photography: Katarina Boye]
title_short	Ergonomic guitar technique
title_sort	ergonomic guitar technique psychology ergonomics technique revised and with added sheets music capricci dinamarca op 7
title_sub	psychology, ergonomics & technique ; [revised and with added sheets music: Capricci Dinamarca, op. 7]
topic	Ergonomie (DE-588)4015249-2 gnd Haltung (DE-588)4133195-3 gnd Psychologie (DE-588)4047704-6 gnd Gitarrenspiel (DE-588)4021101-0 gnd
topic_facet	Ergonomie Haltung Psychologie Gitarrenspiel Einführung
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