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As we will discuss, there are many different facets that go into a piece that can bring challenges. As far as I’m concerned it’s dead. Many of the guitar competition videos I have watched consist of pieces that sound horible (to me) but they are obviously serious technical challenges. (On the other hand, perhaps Williams is not to blame… being that he’s an icon; and needs to protect his privacy in an adequate manner, otherwise he’d be robbed of his own free will – with crazy guitarists all over the world wanting to push their “requests” to him). That does not seem right. In addition it’s not Williams who is “now clearly marketing towards guitarists”. The podcast certainly has given me insight that I’m sure will help me to iron out the bumps that I’m currently experiencing and I’ll probably listen to it more than once. Denis Azabagic is a great guitarist. 1 August 2008 – 31 December 2019 . Technically, I’m progressing well, but this made me realize I’m not truly ready for this level of music yet. This is very different from Kindgren. Also in this choices. Leave them with something short and sweet (although incredibly difficult to play). One key is not objectively more difficult that the other to rea… I think we tend to assume that our audience will consist mostly of other guitarists, so we are concerned with impressing/interesting them. Save my name, email, and website in this browser for the next time I comment. I agree with Chris, one should be playing music that sounds great, rather than looks great. It’s interesting you mention Williams, because he’s now clearly marketing towards guitarists with his john william’s guitar notes sight. As we delve into the flat keys, however, we start to come across hurdles of familiarity (or rather a lack of familiarity) with mounting flats to deal with. We use cookies to track engagement and help deliver the best experience. As you progress in your classical guitar studies the right hand develops more finesse and we start to listen for not only tone quality but a variety of tones and dynamics within a single hand movement. As we delve into the flat keys, however, we start to come across hurdles of familiarity (or rather a lackof familiarity) with mounting flats to deal with. the world of the classical guitar reminds me of the British class system at times – i am british – stuffy, hierarchical, stiff, rule driven. Amazon link: Check the full list of books. Synchronization, shifts, transitions, they all will be made more difficult by an increased speed. Certain key centers (i.e. Per-Olov Kindgren’s YouTube channel -superb Your email address will not be published. After all, having a core group of true fans gives you a lot of freedom to do whatever. One of the students was using a lot of very difficult fingerings, so Gohar presented him with some easier alternatives. Talking of of transitions and counterpoint, the underlying technical aspect that is required is finger independence. Obviously what is easy for some is challenging for others, but, any general suggestions? Once again this comes down to how familiar we are with reading music on the guitar. I feel like ultimately everything you play should be an enjoyable experience for you. My point is, he records his own compositions as well as established classics, and a lot of his own pieces have very large viewcounts. That is my reason, now over to You ! And he’s doing it in such a noble, kind, friendly, sharing manner. Not so Kindgren. I think it demonstrated why it is quite a complex matter to grade music and place it in a curriculum. Required fields are marked *. This may sound academic or even elitist but to me it is as if an actor portrayed a character with the wrong accent. Thank you Simon! I think William Bajek is onto something when he says we assume our audience will consist mainly of other guitarists. One main reason that we don’t use too many flat keys on the classical guitar (when I say flat I am referring to keys like F Major, Bb Major, Eb Major, d minor, g minor etc.) Jeffery Bianchi mentioned Sor etudes, I have always heard those are pretty difficult. I was just telling a student today that I have spent a lot of my time retraining myself to stop thinking that more difficult is better. Left hand shifts, stretches, and transitions. One of the bigger aspects affecting difficulty will be the style in which the music is written. In my 20s I used to sing with guitar accompany, self taught. Now the Villa Lobos preludes would be considered “undergraduate repertoire”. No trace of the typical small-minded attitudes so frequent in classical guitar… you know the attitudes of elitist posturing on technique, rhythm, etc. If you are an advanced beginner or above, I will let you into a secret. Unfortunately the classical guitar is well known for artists who seek the utmost extremes of difficulty. But perhaps even more negative, is the fact that there are actually people (mainly guitarists themselves) who are in awe of the technical sportiness. I think what begins as a genuinely awe-filled love for music and desire to make it “for its own sake” gradually morphs into a besting effort as the begninner experiences more music and music performance for comparison. Thanks a million times over. On a more inclusive note and to refer to my earlier post, Per-Olov also includes Bach, 20th century repertoire, Renaissance, so also draws in enthusiasts, who explore further – perhaps in search of pieces they can play. I feel often i would be too frightened to do this in front of an audience, like im committing some high treason. Chris wrote: “Williams, because he’s now clearly marketing towards guitarists with his john william’s guitar notes sight.”. No-one is so visible. Some are obvious, such as length and speed, but others are more subtle and harder to identify like left hand independence and transitions. Pfff… As if that’s what it takes to popularize the instrument. These alternative fingerings sounded just as good. Shifts and stretches are usually isolated challenges but transitions can really ask a lot from the player. She finished with The Bells by Benvenuto Perzi. What a surprise to come home and find notes already written below the podcast. Ill take Bream playing the Sor study in B minor to some idiot plowing his/her way through the Variations on a The any day…. It’s not just about how well they play it, it’s about the quality of the piece itself. I think a missing ingredient for many guitarists is an aesthetic understanding; guitarists conflate difficulty and quality. I enjoyed your comments on difficult pieces and related them to my high school and college days (wow, that’s way back). I recently saw Hillary Hahn receive a standing ovation for what was an almost entirely wooden performance of a violin concerto written specifically for her. Perhaps you have a missing finger, perhaps you have no experience in a style… the list is endless but one piece that is “easy” for one is not necessarily easy for you. As you explained the various aspects of assessing a piece of music I found myself saying, “yes, of course.” You laid it out so clearly and I could relate because I started at the first level and now am working on grade 5 material. Ponce preludes. That is, the idea that pieces of a certain level are the goal. Whatever the case, playing with fast movements on the guitar is tricky. To Max, above: You may want to consider joining the academy. But then you realize that they’re really playing in C, with a capo to bring the tune into a better range for the vocalist. On a musical level, having two or more distinct lines to consider will impact not only the comprehension but also memorization, and musicality. To some degree, guitarists use difficulty as smoke-screen to hide the fact that they often do not have a clear artistic vision or conviction. Good guitarists edit and change things and simplify. Interesting commentary. I had a specific reason for listening to it related to specific difficulty that I’m having learning the last piece of added repertoire, Simple Mambo, in Grade 2. If a piece is too difficult it can cause frustration, a sense of failure, overwhelm, and more often than not you will blame yourself for not being up to the challenge rather than the difficulty of the piece. We’re lucky to have him playing the guitar! It seems as if every piece has some sticky bit to it that must be overcome in order to have a smooth performance which feels satisfying. such an interesting post and comments. Thank you, very helpful to hear with such thoughtful detail. Wonderful music, difficult to play! They are classics in the field for budding players. (Even Fisk has stated this). An experienced educator and performer will be able to curate your own personal journey too. It feels safer making an audio recording of something that easy and sounds nice, that way nobody can actually see how it was done . That is, the idea that pieces of a certain level are the goal. I definitely feel the thumb screws being turned ever so slightly as I climb the ladder but as I practice the pain recedes and I am up one more rung. I would argue it is because they are more concerned with the aesthetic merit of the piece than anything else. 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