Where and when was the technique-driven ‘artist’ born? Articulation, tonal dynamic control, ornaments. Whether it be complex arpeggios, right hand balance to bring out voices, string crossing or string leaps, many right hand movements can contribute to the overall level of difficulty. Repertoire might require any number of left hand acrobatics to realize the music and they can add up to a great challenge in terms of choreography. Instead of worrying about how they can play some easier music well, people tend to focus on playing harder music not-so-well (or terribly). Obviously what is easy for some is challenging for others, but, any general suggestions? Of course having multiple musical lines to take care of brings with it technical difficulties too, but we will deal with that a little later. On the site we can read Williams state: “I have often BEEN ASKED for the music of my transcriptions and original pieces”. Probably because he can play the hell out of them. Required fields are marked *. Pfff… As if that’s what it takes to popularize the instrument. Now the Villa Lobos preludes would be considered “undergraduate repertoire”. Ponce preludes. It is one thing to play the music of Dowland by simply reading the notation. Instead of using those experiences as models to supplement and improve our playing, we often make idols of them that we then work to bring down. 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. An experienced educator and performer will be able to curate your own personal journey too. And it’s not about proving to yourself that you can do some difficult fingering (but only nail it half the time). When i play at my best it is when i excuse myself to interpret. 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. And, many of the students are in your age group. Being able to hold down one note while others move while staying in perfect synchronization with the right hand and maintaining good legato through proper transitions is one of the great joys/challenges of the classical guitar. I don’t think it was all that technically difficult (it was in the John Thompson book appropriate for me) but for some reason I just couldn’t get it. jn DONT FRET FB. I think a missing ingredient for many guitarists is an aesthetic understanding; guitarists conflate difficulty and quality. I listened to it while on a 5-mile walk, and planned to listen again and take notes. Not so Kindgren. Watch and study John Williams’ fingerings for examples of this. Finally, there might be some difficulties that arise from something that is particular to your situation. But perhaps even more negative, is the fact that there are actually people (mainly guitarists themselves) who are in awe of the technical sportiness. He does add a LOT of recordings though, and is still adding, and this brings subscribers back to his channel again and again. This post and comments has reasserted that the goal is to entertain. I’m very glad to have received the link to this via Twitter. This is very different from Kindgren. Appreciate your comments, Thanks Max. Seemingly unbeknown to Williams… at this point in time Kindgren is the true prince of the classical guitar. Christopher Davis founded ClassicalGuitar.org in 2008. Moving on from how a composer writes, we can also factor in the style and genre within which the composer lives. Unfortunately the classical guitar is well known for artists who seek the utmost extremes of difficulty. In addition to learning the music you will also have to dedicate time to developing a new technique. Wonderful music, difficult to play! There is a great deal of difficult music that is of a very poor aesthetic quality, but most of us are not confident enough in our aesthetic sensibilities to make decisions based on true musical merit. what’s on the page) rather than finding the best solution. I do not read Music Notation, using Tabs, being a little easier at 80, I know it sound silly ! I feel like ultimately everything you play should be an enjoyable experience for you. 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. Some are obvious, such as length and speed, but others are more subtle and harder to identify like left hand independence and transitions. Many of the guitar competition videos I have watched consist of pieces that sound horible (to me) but they are obviously serious technical challenges. It feels safer making an audio recording of something that easy and sounds nice, that way nobody can actually see how it was done .
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