〖The Path to Virtuosity by Ricardo Iznaola（精湛技巧练习路径）〗

..............
　　It is my conviction that technique is made up of a limited number of procedures with an unlimited number of applications. Therefore, as Porpora clearly understood, a sound technical methodology is not one that tries to cover all possible forms of a given procedure, but rather one that identifies and trains the essential mechanism which makes the procedure, in all its forms, possible.
..............
此部分共[8]页： 1>> 2>> 3>> 4>> 5>> 6>> 7>> 8>>
〖The Path to Virtuosity by Ricardo Iznaola（精湛技巧练习路径）〗
Further Suggestions for Practice（其它一些练习建议）
　　When working on the exercises, the guitarist must keep in mind the fact that mechanical repetition is worthless. Every time an exercise is repeated one must consciously correct and/or improve upon the previous playing.
　　The goal of any and all exercises is the attainment of easy perfection. Difficulty denotes unsolved problems, and unsolved problems indicate that the technique is inferior to that required by the level of the exercise.
　　Metronome indications refer to minimum and maximum practice tempos. The minimum tempo should only be used once the exercise has been well learned and the movements accurately assimilated. The maximum practice tempo, once reached, should be maintained for at least a full week before moving on to the next material.
　　Although there are no exercises in Kitharologus specifically designed for the barre (or ceja), preparatory exercise no. 14 in Level I is sufficient for the training of the index finger. The barre is, in reality, a particular form of the technique of extension, therefore if the extension exercises throughout Kitharologus are well-assimilated, barring will be no problem.
此部分共[8]页： 1>> 2>> 3>> 4>> 5>> 6>> 7>> 8>>
〖The Path to Virtuosity by Ricardo Iznaola（精湛技巧练习路径）〗