We continue in this article with the study Mais uma vez. If you have been working on the variations presented in the last article you will probably feel that the sections for this article are somewhat easier. Follow the same system of study suggested in the previous articles.

When using a technique that requires strength and sustain it is essential to learn how to become aware of opportunities for relaxing, without breaking the continuity of the music. You may be surprised at the amount of recovery you can make just by seizing a fraction of a second at the end of a phrase or when open strings are involved. In the variations D and E laid out this month, the harmonic sequence is basically the same as before and whatever modifications there are, are marked on the score. If there is any doubt about the fingering, then refer back to the theme and variations B and C. In section D the problem will be to balance the sound between the bass and the treble. The tendency will be to exaggerate the bass. With practice you will be able to control this and you will feel your "touch" to be much lighter.

The technique with the thumb is for it to be resting on the string as it plays, not be suspended over the string waiting to attack (the technique here is very similar to that used by flamenco players). In bar 10 of D watch for the change of strings in the bass. Make a slight rallentando at bar 14, relax and then pick up the tempo on the repeat.

If you have worked on sections B, C and D you will feel a real "lift off" at E, which is technically much simpler. There is slightly more detail for the Left Hand, but the patterns lie under the fingers.

Drive the tempo with the quavers in the treble and drop the bass notes in between those quavers to support the momentum. Again at bar 10, keep the pressure on the barré so that the inner notes do not get lost. There is a voice leading on the 4th string that needs to be heard.

For those readers who can read chord symbols, it may be helpful to know that the theme and its variations are based on the following sequence

Bmll/Bb7b5/Am/÷/

F/G7/F#7/Bm.Bb7b5/

Am/B7/Em/A7/

Dm/G7/Bb7b5 Am/D7b5. G7/

The sequence is intended as a guide to indicate the voice leadings.

If you are finding the study strenuous, do not lose heart. It is important to realise that when you are building muscle and new complicated nervous patterns it does take time. Because of this it is sometimes more efficient to approach a piece that you feel is very difficult with the idea that you will absorb it slowly over a period of time, rather than trying to learn it and play it immediately. You will then feel easier in yourself and consequently, will learn it faster. The important thing to remember is that once you apply yourself to absorbing something, the process continues until you consciously stop it. Learning to play barré is probably the clearest example for a guitar player. Extend the principle of this example to all aspects of technique and you will find that it will help you approach new music with a much freer and more positive attitude.

Part of the joy of learning to play an instrument like the guitar rests in the fact that one day you wake up and have the freedom to play a section of music that you can remember being impossible for you some six months or a year before. I mention this in case you feel that some of the musical examples offered are too advanced for you. If you do feel this, then take heart and work on one particular part and gradually build up a familiarity with that; then move onto another section until after maybe a few months you will feel prepared to play the piece as a whole. When you have done this with one piece and watched the process grow within you, you will begin to understand what is involved with studying and not be inhibited about tackling new music. Until next time.