Cindy

Nicely played, Maria! And what a beautiful guitar!!! Kudos to you. The piece of music is really nice, too - Mauro Giuliani's 120 Right Hand Studies even has some relaxing sounds to it so I'm not surprised this piece of music is sweet! Have fun with your new acquisition.

Also to answer your earlier question on the slur, as Diane mentioned, yes it is a slur. It means you articulate the first note while the second note is played very smoothly - as though the 2 notes are joined together smoothly. I don't think Steve covers much of any articulation. Music contains markings on how to articulate notes. In addition to the legato slur markings, some articulations might be staccato (a small dot above a note meaning the note is quick and detached) or accented notes (might be an upside down V or a sideways V).

Hi Dan and Happy New Year! To answer your question, the two eighth notes (both C's) form beat 1. The eighth rest and the eighth note G form beat 2. The last two beats of a quarter note and two eight notes form beats 3 & 4. Once you start to play the note G, the rhythm changes to a syncopated rhythm which might be what's throwing you off. The (4) should be moved slightly to the left though with a + beneath the last eighth rest. Does that help?

The only thing I could find in my book was alternate fingerings for the 7th and 8th string SUS barre chords. The alternates I added came from other sources though. I think Steve's fingerings might have omitted one of the chord tones. But that's the only marking I have in my book other than adding fingerings for Pachelbel's Canon.

Many of the corrections were posted on one of the original LMG forums. I'll have to look thru my book (I use the ORIGINAL book) to see if I can identify some of them.

Thanks kindly.

I was VERY active here at the beginning since I was a Beta tester. I kept watch of the leader board but couldn't pass Doug's high post count! Maybe some of the beta test posts were deleted? All I know is I was WELL beyond the 140ish mark within those first few months.

I should have elaborated a little more on this. When a diminished interval is inverted, it becomes augmented. And when an augmented interval is inverted, it becomes diminished. And it's the same way with major and minor intervals. A major interval becomes minor when inverted and vice versa. But a perfect interval when inverted remains a perfect interval.

I cannot even picture the description - is there any way you can post a pic to show what it looks like?

All I will say is I'm not a big fan of censorship when it isn't warranted. I used to have a much higher post count here than the 140ish listed so I don't know where many of my posts/responses went. But to have content deleted and not be notified isn't sitting well with me. I always tried to give detailed music theory info, but now I have no idea how much of that might have been removed. The previous forums weren't run this way. While I have your attention, Doug, I will wish you a Merry Christmas. Take care.

In my signature is the link for Mike M's file sharing site. LMG members have used this site for years to share a variety of knowledge (practice files, etc). According to Yahoo, they are discontinuing the groups so all the files will be removed. If you haven't saved these files and still want them, please download them by January 31st, 2020. That's supposed to be the cutoff date to access the group. If you aren't a member of this Yahoo group, please make a Yahoo account. Mike M is no longer with us, but I am a moderator there and will approve new members. When requesting to join, please mention you are an LMG member - that's so we don't get any spammers over there. Thanks. Wishing everyone a wonderful holiday filled with love and laughter - and guitars!

This is how to practice. Is there a consistent place in the song where you encounter problems, or do you run into problems at different places when playing the songs through repeatedly? Isolate a problem. Switch between 2 or 3 chords to iron out any inconsistencies. Then add in a few beats before the problem area as well as a few beats after the problem area and play through this slightly longer snippet. Then start a couple measures ahead of the problem area, play through the problem area, and continue to play a couple measures after the problem area. Once you can play through those measures, try expanding to a larger section of the song. Do that a few times before running through the entire piece. And like Barbara mentioned, Session 4 is a biggie! In the past, Steve has mentioned maybe he should have broken it down into 2 different sessions. It's definitely one of the major sessions in LMG.

A perfect interval remains a perfect interval when inverted. So a perfect 4th becomes a perfect 5th when inverted and vice versa. The unison intervals are called perfect primes and octave intervals are perfect octaves.

Yes, the songs will be posted on SoundCloud and linked here after Steve has a chance to listen to them. He's been very busy so let's give him a few days.

That would be terrific, Neil!